The anatomy of a breakup, rendered with unswerving precision by the author of A Pure Clear Light (not reviewed), etc. Out of the blue, Jonathan informs Nicola that he’s concluded she should move out of the apartment they’ve shared for years. It seems he no longer loves her. She asks him to repeat himself; he is cold, vague and certain of his decision. Numb, unable to think, Nicola seeks refuge with her friend Susannah, who holds her while she cries and attempts to comfort her with the requisite observations about the stupidity of men. Initially, Nicola defends Jonathan; she scans the recent past in search of warning signs, of hidden flaws in herself that he may finally have recognized. Jonathan proposes that he buy Nicola out of the apartment that they own together and that had been hers first, back in the days when his friends thought he was incredibly lucky to have nabbed a girlfriend, any girlfriend. Jonathan (who, to the extent he reflects on the breakup, believes that Nicola has done something to his soul) does have his twinges of suffering: the house feels rather empty, he has no clue as to how to feed himself, he remains in the spare room (why not?). Meanwhile, Nicola sleepwalks her way to a new life. She moves into Susannah’s house, idly applies for really good jobs she has no hope of getting, goes out dancing all night with friends from work. If the mechanics of the separation are underwhelming, the backdrop of harried but true-blue friends, kind children, and decent if intrusive parents shows, with richness and realism, the post-breakup interplay between internal turmoil and ongoing real life. This deceptively easy read, then, is in fact spare, sure-handed, and emotionally canny.
Pub Date: Sept. 1, 1998
ISBN: 0-7867-0560-4
Page Count: 240
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 1998
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
A masterpiece of craftsmanship that offers an unparalleled emotional experience. Send a copy to the Swedish Academy.
An ambitious scientific experiment wreaks horrendous toll in the Booker-winning British author’s disturbingly eloquent sixth novel (after When We Were Orphans, 2000).
Ishiguro’s narrator, identified only as Kath(y) H., speaks to us as a 31-year-old social worker of sorts, who’s completing her tenure as a “carer,” prior to becoming herself one of the “donors” whom she visits at various “recovery centers.” The setting is “England, late 1990s”—more than two decades after Kath was raised at a rural private school (Hailsham) whose students, all children of unspecified parentage, were sheltered, encouraged to develop their intellectual and especially artistic capabilities, and groomed to become donors. Visions of Brave New World and 1984 arise as Kath recalls in gradually and increasingly harrowing detail her friendships with fellow students Ruth and Tommy (the latter a sweet, though distractible boy prone to irrational temper tantrums), their “graduation” from Hailsham and years of comparative independence at a remote halfway house (the Cottages), the painful outcome of Ruth’s breakup with Tommy (whom Kath also loves), and the discovery the adult Kath and Tommy make when (while seeking a “deferral” from carer or donor status) they seek out Hailsham’s chastened “guardians” and receive confirmation of the limits long since placed on them. With perfect pacing and infinite subtlety, Ishiguro reveals exactly as much as we need to know about how efforts to regulate the future through genetic engineering create, control, then emotionlessly destroy very real, very human lives—without ever showing us the faces of the culpable, who have “tried to convince themselves. . . . That you were less than human, so it didn’t matter.” That this stunningly brilliant fiction echoes Caryl Churchill’s superb play A Number and Margaret Atwood’s celebrated dystopian novels in no way diminishes its originality and power.
A masterpiece of craftsmanship that offers an unparalleled emotional experience. Send a copy to the Swedish Academy.Pub Date: April 11, 2005
ISBN: 1-4000-4339-5
Page Count: 304
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 1, 2005
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