This timely novel depicts the heart- and spirit-breaking difficulties faced by illegal immigrants with meticulous...
A Chinese woman who works in a New York nail salon doesn’t come home one day; her young son is raised by well-meaning strangers who cannot heal his broken heart.
We meet Bronx fifth-grader Deming Guo on the day his mother disappears without a trace. From there, the story moves both forward and backward, intercutting between the narrative of his bumpy path to adulthood and his mother’s testimony. Gradually the picture comes together—Deming was conceived in China and born in America because his unmarried mother, Peilan, decided she would rather borrow the $50,000 to be smuggled to America than live out her life in her rural village. After her baby is born she tries to hide him underneath her sewing machine at work, but clearly she cannot care for him and work enough to repay the loan shark. She sends him back to China to be raised by her aging father. When Deming is 6, Yi Ba dies, and the boy rejoins his mother, who now has a boyfriend and lives with him; his sister, Vivian; and her son, Michael. After Peilan disappears, Deming is shuffled into foster care—his new parents are a pair of white academics upstate. Ten years later, it is Michael who tracks down a college dropout with a gambling problem named Daniel Wilkinson and sends a message that, if he is Deming Guo, he has information about his mother. The twists and turns continue, with the answers about Peilan’s disappearance withheld until the final pages. Daniel’s involvement in the alternative music scene is painted in unnecessary detail, but otherwise the specificity of the intertwined stories is the novel’s strength. Ko’s debut is the winner of the 2016 Pen/Bellwether Prize for Fiction for a novel that addresses issues of social justice, chosen by Barbara Kingsolver.
This timely novel depicts the heart- and spirit-breaking difficulties faced by illegal immigrants with meticulous specificity.Pub Date: May 2, 2017
ISBN: 978-1-61620-688-8
Page Count: 352
Publisher: Algonquin
Review Posted Online: Jan. 22, 2017
Kirkus Reviews Issue: Feb. 1, 2017
BOOK REVIEW
Original and earnest, informed both by human limitation and human potential.
The author returns to the Arkansas setting of They Tell Me of a Home (2005).
It’s 1941, and Gustavus and Emma Jean Peace have just had their seventh child. Gus had hoped to be through having babies. Emma Jean—disappointed with six boys—is determined to try one last time for a girl. When God doesn’t give her a daughter, she decides to make one herself. Naming the new baby “Perfect” and blackmailing the midwife to aid her in her desperate deception, Emma Jean announces the birth of a girl. For eight years, Emma Jean outfits her youngest child in pretty dresses, gives her all the indulgences she longed for in her own blighted girlhood and hides the truth from everyone—even herself. But when the truth comes out, Emma Jean is a pariah and her most-treasured child becomes a freak. It’s hard to know quite what to make of this impassioned, imperfect novel. While another writer might have chosen to complement the sensationalism of his scenario with a tempered style, Black narrates his tale in the key of melodrama. He devotes a considerable number of pages to Emma Jean’s experience as the unloved, darker (and therefore ugly) daughter, but since no amount of back story can justify Emma-Jean’s actions, these passages become redundant. And, most crucially, Black builds toward the point when Perfect discovers that she’s a boy, but seems confused about what to do with his character after this astonishing revelation. At the same time, the author offers a nuanced portrait of an insular community’s capacity to absorb difference, and it’s a cold reader who will be unmoved by his depictions.
Original and earnest, informed both by human limitation and human potential.Pub Date: March 1, 2010
ISBN: 978-0-312-58267-8
Page Count: 352
Publisher: St. Martin's
Review Posted Online: Jan. 17, 2011
Kirkus Reviews Issue: Feb. 15, 2010
Too much hocus-pocus, not enough focus. (Book-of-the-Month Club selection)
Part of Hoffman's great talent is her wonderful ability to sift some magic into unlikely places, such as a latter-day Levittown (Seventh Heaven, 1990) or a community of divorcées in Florida (Turtle Moon, 1992).
But in her 11th novel, a tale of love and life in New England, it feels as if the lid flew off the jar of magic—it blinds you with fairy dust. Sally and Gillian Owens are orphaned sisters, only 13 months apart, but such opposites in appearance and temperament that they're dubbed ``Day and Night'' by the two old aunts who are raising them. Sally is steady, Gillian is jittery, and each is wary, in her own way, about the frightening pull of love. They've seen the evidence for themselves in the besotted behavior of the women who call on the two aunts for charms and potions to help them with their love lives. The aunts grow herbs, make mysterious brews, and have a houseful of—what else?—black cats. The two girls grow up to flee (in opposite directions) from the aunts, the house, and the Massachusetts town where they've long been shunned by their superstitious schoolmates. What they can't escape is magic, which follows them, sometimes in a particularly malevolent form. And, ultimately, no matter how hard they dodge it, they have to recognize that love always catches up with you. As always, Hoffman's writing has plenty of power. Her best sentences are like incantations—they won't let you get away. But it's just too hard to believe the magic here, maybe because it's not so much practical magic as it is predictable magic, with its crones and bubbling cauldrons and hearts of animals pierced with pins. Sally and Gillian are appealing characters, but, finally, their story seems as murky as one of the aunts' potions—and just as hard to swallow.
Too much hocus-pocus, not enough focus. (Book-of-the-Month Club selection)Pub Date: June 14, 1995
ISBN: 0-399-14055-7
Page Count: 256
Publisher: Putnam
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 1, 1995
BOOK TO SCREEN
SEEN & HEARD
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