Devastating; as unforgettable as it is gorgeous.
Sensitive and smart and arrestingly beautiful, debut novelist Buntin’s tale of the friendship between two girls in the woods of Northern Michigan makes coming-of-age stories feel both urgent and new.
Fifteen-year-old Cat catches her first glimpse of Marlena as they’re unloading the U-Haul; Cat’s parents have just gotten divorced, the most obvious consequence of which is that her mother has moved the remainder of the family from the suburbs of Detroit to Silver Lake, a rural town in Northern Michigan, 20 minutes from the nearest grocery store stocking vegetables. It is a meeting both unremarkable and life-changing. “The details of her in my memory are so big and clear they almost can’t quite be true,” Cat says, looking back. “Her arms were slicked with snowmelt and pimpled from the cold; her hair gave off a burnt-wood smell when she shook it out of her face, the way she often did before she spoke.” Over the course of the coming weeks, they become friends, and then best friends, their lives wholly and intensely intertwined. Magnetic and kind and very, very troubled, Marlena introduces the once-studious Cat to a new world of drinking and pills and sex and also friendship, the depth of which neither girl has experienced before. And still, there are parts of Marlena’s life Cat cannot reach and doesn’t understand: Cat knows someday she’ll be leaving Silver Lake; Marlena knows she won’t. She’s right. With time, Marlena slips further away, swallowed up by drugs and desperation, and by the end of the year she is dead, having drowned alone in a shallow, freezing river in the unforgiving woods. It could so easily be clichéd or sentimental. It is neither. Jumping between their teenage friendship in Michigan and Cat’s adult life in New York City, Buntin creates a world so subtle and nuanced and alive that it imprints like a memory.
Devastating; as unforgettable as it is gorgeous.Pub Date: April 4, 2017
ISBN: 978-1-62779-764-1
Page Count: 288
Publisher: Henry Holt
Review Posted Online: Feb. 1, 2017
Kirkus Reviews Issue: Feb. 15, 2017
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.
The time is the not-so-distant future, when the US's spiraling social freedoms have finally called down a reaction, an Iranian-style repressive "monotheocracy" calling itself the Republic of Gilead—a Bible-thumping, racist, capital-punishing, and misogynistic rule that would do away with pleasure altogether were it not for one thing: that the Gileadan women, pure and true (as opposed to all the nonbelieving women, those who've ever been adulterous or married more than once), are found rarely fertile.
Thus are drafted a whole class of "handmaids," whose function is to bear the children of the elite, to be fecund or else (else being certain death, sent out to be toxic-waste removers on outlying islands). The narrative frame for Atwood's dystopian vision is the hopeless private testimony of one of these surrogate mothers, Offred ("of" plus the name of her male protector). Lying cradled by the body of the barren wife, being meanwhile serviced by the husband, Offred's "ceremony" must be successful—if she does not want to join the ranks of the other disappeared (which include her mother, her husband—dead—and small daughter, all taken away during the years of revolt). One Of her only human conduits is a gradually developing affair with her master's chauffeur—something that's balanced more than offset, though, by the master's hypocritically un-Puritan use of her as a kind of B-girl at private parties held by the ruling men in a spirit of nostalgia and lust. This latter relationship, edging into real need (the master's), is very effectively done; it highlights the handmaid's (read Everywoman's) eternal exploitation, profane or sacred ("We are two-legged wombs, that's all: sacred vessels, ambulatory chalices"). Atwood, to her credit, creates a chillingly specific, imaginable night-mare. The book is short on characterization—this is Atwood, never a warm writer, at her steeliest—and long on cynicism—it's got none of the human credibility of a work such as Walker Percy's Love In The Ruins. But the scariness is visceral, a world that's like a dangerous and even fatal grid, an electrified fence.
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.Pub Date: Feb. 17, 1985
ISBN: 038549081X
Page Count: -
Publisher: Houghton Mifflin
Review Posted Online: Sept. 16, 2011
Kirkus Reviews Issue: Jan. 15, 1985
SEEN & HEARD
BOOK TO SCREEN
Jonathan Livingston Kitty, it’s not.
A lonely postman learns that he’s about to die—and reflects on life as he bargains with a Hawaiian-shirt–wearing devil.
The 30-year-old first-person narrator in filmmaker/novelist Kawamura’s slim novel is, by his own admission, “boring…a monotone guy,” so unimaginative that, when he learns he has a brain tumor, the bucket list he writes down is dull enough that “even the cat looked disgusted with me.” Luckily—or maybe not—a friendly devil, dubbed Aloha, pops onto the scene, and he’s willing to make a deal: an extra day of life in exchange for being allowed to remove something pleasant from the world. The first thing excised is phones, which goes well enough. (The narrator is pleasantly surprised to find that “people seemed to have no problem finding something to fill up their free time.”) But deals with the devil do have a way of getting complicated. This leads to shallow musings (“Sometimes, when you rewatch a film after not having seen it for a long time, it makes a totally different impression on you than it did the first time you saw it. Of course, the movie hasn’t changed; it’s you who’s changed") written in prose so awkward, it’s possibly satire (“Tears dripped down onto the letter like warm, salty drops of rain”). Even the postman’s beloved cat, who gains the power of speech, ends up being prim and annoying. The narrator ponders feelings about a lost love, his late mother, and his estranged father in a way that some readers might find moving at times. But for many, whatever made this book a bestseller in Japan is going to be lost in translation.
Jonathan Livingston Kitty, it’s not.Pub Date: March 12, 2019
ISBN: 978-1-250-29405-0
Page Count: 176
Publisher: Flatiron Books
Review Posted Online: Feb. 16, 2019
Kirkus Reviews Issue: March 1, 2019
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