A daring, somewhat formless mix of thriller, whimsy and intense emotional portraiture. Shorter would have been better.
An ambitious debut expresses different versions of maternal need through three female voices, notably that of Lucy, a girl who is “different.”
There’s a whiff of American Gothic about Sarkissian’s claustrophobic evocation of life on the chicken farm where frustrated Missus yearns for a child and taciturn Mister looks suspicious in the light of adopted daughter Stella’s pregnancy and disappearance. Now, two new girls live there: Samantha, also pregnant, whose baby is destined to be handed over to Missus; and mentally challenged, behaviorally troublesome Lucy, whose mother has instructed her not to leave the farm so that she can come and reclaim her. Sarkissian describes desperation on one side and deceived otherworldliness on the other as Lucy’s interior landscape is revealed as a struggle for comprehension, memory and expression, lit with shafts of insight and fantasy. Lucy may be intellectually limited, but she understands, indeed obsesses over, love, family and parenting, which is why she wants to help Samantha and her baby join the father and become a unit. Using Samantha and Missus as alternative first-person narrators helps break up the monotony and oppressiveness of Lucy’s stream of consciousness, but there’s still a sense of overload to this novel as well as the questionable magic-realist involvement of a talking chicken.
A daring, somewhat formless mix of thriller, whimsy and intense emotional portraiture. Shorter would have been better.Pub Date: April 23, 2013
ISBN: 978-1-4516-2572-1
Page Count: 272
Publisher: Simon & Schuster
Review Posted Online: Feb. 2, 2013
Kirkus Reviews Issue: Feb. 15, 2013
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
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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