Urban thirtysomethings dissected with wisdom, literary skill, humanity, and knowing humor. More, please.
An insightful, warm, and gently funny first novel whose considerable narrative drive derives almost entirely from emotional nuance.
Memoirist Cunningham’s (A Place in the Country, 2000, etc.) deftly structured group portrait of six Manhattan women at midjourney begins with substantial sketches (most could stand alone as short stories) of the friends as they head to a party to celebrate the first (wanted) pregnancy among them. Amusingly and effectively, we are introduced to each through real estate. Fifteen years ago, they met at the Theresa Residence for Women; now only Claire, free spirit, world traveler, and expectant mother, remains as the building is razed around her. Among the others are Jessie, a journalist newly in love rushing to prepare her downtown loft for the party, determined not to be a woman waiting for the phone to ring; and pale, frail painter Lizbeth, who fights eviction from her rent-controlled haven while sinking into fantasies of the married man who left her. With one over-the-top exception (self-deluded, materialistic Martha), these are recognizable, multidimensional people, and the accommodations they've made with life are real and poignant. Much of their talk concerns the intransigence of men, the hope that it might be different, and disappointment when it isn't; Cunningham captures it all with sympathy and humor. Nina, consistently left by the many men she beds, asks, “Is there any sound as loud as a zipper on its way up?” Lizbeth, who seeks the consolation of sleep on high-thread-count sheets, “had always had an excellent relationship with her bedding.” Martha, the group's overcritical, puritanical, maternal superego, provides both the tension (will she go too far and ruin the party?) and the too-pat ending, when she admits to the flaws in her perfectly planned life and her need for her friends' support.
Urban thirtysomethings dissected with wisdom, literary skill, humanity, and knowing humor. More, please.Pub Date: June 4, 2002
ISBN: 0-7434-3401-3
Page Count: 336
Publisher: Washington Square/Pocket
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 15, 2002
BOOK REVIEW
A novel of horrific beauty, where death is the only truth.
Even within the author’s extraordinary body of work, this stands as a radical achievement, a novel that demands to be read and reread.
McCarthy (No Country for Old Men, 2005, etc.) pushes his thematic obsessions to their extremes in a parable that reads like Night of the Living Dead as rewritten by Samuel Beckett. Where much of McCarthy’s fiction has been set in the recent past of the South and West, here he conjures a nightmare of an indeterminate future. A great fire has left the country covered in layers of ash and littered with incinerated corpses. Foraging through the wasteland are a father and son, neither named (though the son calls the father “Papa”). The father dimly remembers the world as it was and occasionally dreams of it. The son was born on the cusp of whatever has happened—apocalypse? holocaust?—and has never known anything else. His mother committed suicide rather than face the unspeakable horror. As they scavenge for survival, they consider themselves the “good guys,” carriers of the fire, while most of the few remaining survivors are “bad guys,” cannibals who eat babies. In order to live, they must keep moving amid this shadowy landscape, in which ashes have all but obliterated the sun. In their encounters along their pilgrimage to the coast, where things might not be better but where they can go no further, the boy emerges as the novel’s moral conscience. The relationship between father and son has a sweetness that represents all that’s good in a universe where conventional notions of good and evil have been extinguished. Amid the bleakness of survival—through which those who wish they’d never been born struggle to persevere—there are glimmers of comedy in an encounter with an old man who plays the philosophical role of the Shakespearean fool. Though the sentences of McCarthy’s recent work are shorter and simpler than they once were, his prose combines the cadence of prophecy with the indelible images of poetry.
A novel of horrific beauty, where death is the only truth.Pub Date: Oct. 2, 2006
ISBN: 0-307-26543-9
Page Count: 288
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 2006
PERSPECTIVES
IN THE NEWS
SEEN & HEARD
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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