In a quixotic narrative that zigs and zags and turns back upon itself, an esoteric exploration of passion and love, memory...
Australian novelist Bail (Eucalyptus, 1998, etc.) offers a slim avant-garde novel with a narrative that cavorts through time and space.
Frank Delage invents a new concert grand piano, self-engineered at his Sydney, Australia, factory, a piano of "radical construction" from whose "logic and mechanical efficiency came the distinctive new sound." Delage travels from Sydney to Vienna, Austria, which he believes is the center of classical music, to demonstrate his invention. Delage’s piano befuddles Vienna’s insular musical society, but he serendipitously befriends Amalia von Schalla, a wealthy arts patron, then her husband, Konrad, a coldly dispassionate but prosperous investor, and finally her 30-something daughter, Elisabeth. Frank is forever misapprehending the women in his life. He feels sexually drawn to elegantly beautiful Amalia, who radiates eroticism but seems indifferent to him. However, Elisabeth, nearer his age, is attracted to Frank, but he's oblivious. Amalia alternately lures Frank and then rejects him while daughter Elisabeth attaches herself to him with what seems puzzling lassitude. In a post-modern, shape-shifting narrative that pushes Bail’s work into a near stream-of-consciousness dream state, Frank’s sojourn plays out in the past tense, a story told after he chooses to sail home on Romance, a German container ship equipped to carry a few passengers. The narrative unfolds and shifts from setting to setting—Sydney, Vienna, aboard ship—and from paragraph to paragraph and even sometimes within a single sentence. Bail uses no chapters, no delineations, offering the tale in third person. Exotic characters appear, disappear, reappear, including an art critic dressed all in black whose home burns down as he lectures; an experimental composer who destroys a Delage piano as it’s being played by a nude woman; and aboard the Romance, a newly divorced Dutchman, a pair of sisters and a quarreling English couple.
In a quixotic narrative that zigs and zags and turns back upon itself, an esoteric exploration of passion and love, memory and ambition is revealed in pointillist fashion.Pub Date: Feb. 4, 2014
ISBN: 978-1-62365-072-8
Page Count: 144
Publisher: MacLehose Press
Review Posted Online: June 24, 2014
Kirkus Reviews Issue: Dec. 15, 2013
BOOK REVIEW
BOOK REVIEW
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.
The time is the not-so-distant future, when the US's spiraling social freedoms have finally called down a reaction, an Iranian-style repressive "monotheocracy" calling itself the Republic of Gilead—a Bible-thumping, racist, capital-punishing, and misogynistic rule that would do away with pleasure altogether were it not for one thing: that the Gileadan women, pure and true (as opposed to all the nonbelieving women, those who've ever been adulterous or married more than once), are found rarely fertile.
Thus are drafted a whole class of "handmaids," whose function is to bear the children of the elite, to be fecund or else (else being certain death, sent out to be toxic-waste removers on outlying islands). The narrative frame for Atwood's dystopian vision is the hopeless private testimony of one of these surrogate mothers, Offred ("of" plus the name of her male protector). Lying cradled by the body of the barren wife, being meanwhile serviced by the husband, Offred's "ceremony" must be successful—if she does not want to join the ranks of the other disappeared (which include her mother, her husband—dead—and small daughter, all taken away during the years of revolt). One Of her only human conduits is a gradually developing affair with her master's chauffeur—something that's balanced more than offset, though, by the master's hypocritically un-Puritan use of her as a kind of B-girl at private parties held by the ruling men in a spirit of nostalgia and lust. This latter relationship, edging into real need (the master's), is very effectively done; it highlights the handmaid's (read Everywoman's) eternal exploitation, profane or sacred ("We are two-legged wombs, that's all: sacred vessels, ambulatory chalices"). Atwood, to her credit, creates a chillingly specific, imaginable night-mare. The book is short on characterization—this is Atwood, never a warm writer, at her steeliest—and long on cynicism—it's got none of the human credibility of a work such as Walker Percy's Love In The Ruins. But the scariness is visceral, a world that's like a dangerous and even fatal grid, an electrified fence.
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.Pub Date: Feb. 17, 1985
ISBN: 038549081X
Page Count: -
Publisher: Houghton Mifflin
Review Posted Online: Sept. 16, 2011
Kirkus Reviews Issue: Jan. 15, 1985
SEEN & HEARD
BOOK TO SCREEN
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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