A mix-and-match novel with the grunge of Bukowski, the teeth-grinding momentum of the Beats and the acidic self-loathing of...

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NARCISA

OUR LADY OF ASHES

The ugly saga of the relationship between a self-professed outlaw and a psychotic crack whore.

This drug-fueled, Beat-influenced slab of a novel arrives with a bizarre pedigree. Tattoo artist–turned-novelist Shaw (Love Songs to the Dead, 2009, etc.) is the son of jazz great Artie Shaw and the contemporary of kindred spirits ranging from Iggy Pop to Lydia Lunch, who contributes an introduction. Here, his 2007 debut novel (originally published by indie Heartworm Press) has been shepherded to republication by Johnny Depp. Unfortunately, this novel about an obsessed bandito and the raging lunatic he falls for is trying so hard to mimic other writers’ styles that it ultimately doesn’t find much to say that is new or different from its influences. Our narrator is Ignacio Valencia Lobos, known on the streets of Rio de Janeiro as “Cigano,” or gypsy. After years running heroin between Mexico and California, Cigano has kicked his habit in prison and come home. “Wide awake now. Picking up the shattered pieces of a faded, fuzzy little jigsaw puzzle nightmare called Home,” he says. His life is pretty much destroyed when he meets Narcisa, a glue-huffing, babbling poet/prostitute with a psyche shattered by childhood sexual abuse, a zealous addiction to drugs and a broken patois that doesn’t always sound authentic. That’s pretty much it for the next several hundred pages—the damaged duo have violent, incensed sex, they fight, she leaves, she comes back, and then the cycle starts all over again. He gets a little insight into her condition from “Doc,” a kind of odd paternal figure to Narcisa. But the cycle is always the same old same old when Cigano turns back up on Narcisa’s doorstep. “So what if my love was for a psychotic, violent, abusive, foul-mouthed, unsanitary crack whore with a hell-bent rage and an insatiable appetite for destruction?” Ain’t love grand?

A mix-and-match novel with the grunge of Bukowski, the teeth-grinding momentum of the Beats and the acidic self-loathing of addiction novels.

Pub Date: March 24, 2015

ISBN: 978-0-06-235499-0

Page Count: 624

Publisher: Perennial/HarperCollins

Review Posted Online: Jan. 19, 2015

Kirkus Reviews Issue: Feb. 1, 2015

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ANIMAL FARM

A FAIRY STORY

A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.

Pub Date: Aug. 26, 1946

ISBN: 0452277507

Page Count: 114

Publisher: Harcourt, Brace

Review Posted Online: Nov. 2, 2011

Kirkus Reviews Issue: Aug. 1, 1946

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With her second novel, Ng further proves she’s a sensitive, insightful writer with a striking ability to illuminate life in...

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LITTLE FIRES EVERYWHERE

This incandescent portrait of suburbia and family, creativity, and consumerism burns bright.

It’s not for nothing that Ng (Everything I Never Told You, 2014) begins her second novel, about the events leading to the burning of the home of an outwardly perfect-seeming family in Shaker Heights, Ohio, circa 1997, with two epigraphs about the planned community itself—attesting to its ability to provide its residents with “protection forever against…unwelcome change” and “a rather happy life” in Utopia. But unwelcome change is precisely what disrupts the Richardson family’s rather happy life, when Mia, a charismatic, somewhat mysterious artist, and her smart, shy 15-year-old daughter, Pearl, move to town and become tenants in a rental house Mrs. Richardson inherited from her parents. Mia and Pearl live a markedly different life from the Richardsons, an affluent couple and their four high school–age children—making art instead of money (apart from what little they need to get by); rooted in each other rather than a particular place (packing up what fits in their battered VW and moving on when “the bug” hits); and assembling a hodgepodge home from creatively repurposed, scavenged castoffs and love rather than gathering around them the symbols of a successful life in the American suburbs (a big house, a large family, gleaming appliances, chic clothes, many cars). What really sets Mia and Pearl apart and sets in motion the events leading to the “little fires everywhere” that will consume the Richardsons’ secure, stable world, however, is the way they hew to their own rules. In a place like Shaker Heights, a town built on plans and rules, and for a family like the Richardsons, who have structured their lives according to them, disdain for conformity acts as an accelerant, setting fire to the dormant sparks within them. The ultimate effect is cataclysmic. As in Everything I Never Told You, Ng conjures a sense of place and displacement and shows a remarkable ability to see—and reveal—a story from different perspectives. The characters she creates here are wonderfully appealing, and watching their paths connect—like little trails of flame leading inexorably toward one another to create a big inferno—is mesmerizing, casting into new light ideas about creativity and consumerism, parenthood and privilege.

With her second novel, Ng further proves she’s a sensitive, insightful writer with a striking ability to illuminate life in America.

Pub Date: Sept. 12, 2017

ISBN: 978-0-7352-2429-2

Page Count: 384

Publisher: Penguin Press

Review Posted Online: June 20, 2017

Kirkus Reviews Issue: July 1, 2017

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