All the trappings of southern gothic—death, race, religion, and violence among country folk—coupled with big ideas about the...
Second-novelist Haynes (Mother of Pearl, 1999) prunes back her lush plotting, while maintaining both an extraordinary style and a firm grounding in her native South of the 1960s, to produce a satisfying tale of violence and redemption.
Haynes's double plot, as one of her characters might say, don't shake square. Beginning in 1961, she recounts the journey of 16-year-old Hezekiah Sheehand to Chalktown, a mythic place where folk communicate with one another on chalkboards posted on their porches. With him he carries his retarded five-year-old brother Yellababy. Their mother, Susan-Blair, has alternately worried about Yellababy and physically abused him through the years. But in her world, this don't count too strong against a woman trying to get life's floorboards straightened up. Cutting to 1955, Haynes introduces Annie and her mother Rosie, together with Aaron, Mr. Prox, and Johnny Roper—all of them involved in various ways with the death of Annie and her stillborn child. After much narrative evasion, the official inquiry lists Annie's death as suicide, though no one believes it, and Rosie soon starts posting biblical passages on her porch chalkboard. Back in 1961, Hezekiah arrives with his brother and Cathy, a curious, ponytailed girl he's met on the road, and takes up residence in Annie's abandoned house. The foundling boy immediately consumes Rosie's attention, and the town is more or less tidily healed. Presiding over both stories is Marion, a wise black neighbor to the Sheehands, who, weary and tolerant of the South's racist suffocations, is the perfect witness when the two strands finally come together.
All the trappings of southern gothic—death, race, religion, and violence among country folk—coupled with big ideas about the place of God in these proceedings. Yet Haynes's lyrical prose will captivate readers willing to overlook a few ungainly knots in the storytelling.Pub Date: May 2, 2001
ISBN: 0-7868-6656-X
Page Count: 336
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 15, 2001
BOOK REVIEW
BOOK REVIEW
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
Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s...
The acclaimed author of The Underground Railroad (2016) follows up with a leaner, meaner saga of Deep South captivity set in the mid-20th century and fraught with horrors more chilling for being based on true-life atrocities.
Elwood Curtis is a law-abiding, teenage paragon of rectitude, an avid reader of encyclopedias and after-school worker diligently overcoming hardships that come from being abandoned by his parents and growing up black and poor in segregated Tallahassee, Florida. It’s the early 1960s, and Elwood can feel changes coming every time he listens to an LP of his hero Martin Luther King Jr. sermonizing about breaking down racial barriers. But while hitchhiking to his first day of classes at a nearby black college, Elwood accepts a ride in what turns out to be a stolen car and is sentenced to the Nickel Academy, a juvenile reformatory that looks somewhat like the campus he’d almost attended but turns out to be a monstrously racist institution whose students, white and black alike, are brutally beaten, sexually abused, and used by the school’s two-faced officials to steal food and supplies. At first, Elwood thinks he can work his way past the arbitrary punishments and sadistic treatment (“I am stuck here, but I’ll make the best of it…and I’ll make it brief”). He befriends another black inmate, a street-wise kid he knows only as Turner, who has a different take on withstanding Nickel: “The key to in here is the same as surviving out there—you got to see how people act, and then you got to figure out how to get around them like an obstacle course.” And if you defy them, Turner warns, you’ll get taken “out back” and are never seen or heard from again. Both Elwood’s idealism and Turner’s cynicism entwine into an alliance that compels drastic action—and a shared destiny. There's something a tad more melodramatic in this book's conception (and resolution) than one expects from Whitehead, giving it a drugstore-paperback glossiness that enhances its blunt-edged impact.
Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s novel displays its author’s facility with violent imagery and his skill at weaving narrative strands into an ingenious if disquieting whole.Pub Date: July 16, 2019
ISBN: 978-0-385-53707-0
Page Count: 224
Publisher: Doubleday
Review Posted Online: Jan. 20, 2019
Kirkus Reviews Issue: Feb. 1, 2019
PERSPECTIVES
SEEN & HEARD
SEEN & HEARD
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