More than worth the wait.
A sequel to The Mambo Kings Play Songs of Love (1989) that sings with the sweet sensuality of its predecessor.
It has been two decades since Hijuelos made his popular breakthrough with The Mambo Kings Play Songs of Love, his Pulitzer Prize–winning novel about a band of Cuban émigrés whose appearance on I Love Lucy turned a lovesick bolero into a minor classic. That song was titled “Beautiful María of My Soul,” and here the novelist returns to tell the story of María, to render her as flesh and blood as well as exotic (and erotic) inspiration. Yes, she remains “the most dazzling woman in Cuba,” one whose beauty inspires rapture in every man who encounters her, including the author: “If that mirror were a man, it would have been salivating; if it were a carpet it would have taken flight; if it had been a pile of wood it would have burst into flame, so lovely was María.” Yet such beauty is bittersweet, for this is a woman who knows that her fate depends upon it and that inevitably it will fade. There is music in her romance with Nestor Castillo, the shy but handsome trumpeter who will spend years composing the song that pays tribute to her. Each may be the other’s true love, but life has other designs, as the novel shows how the beautiful María chooses her destiny, rebels against it and makes peace with it. The prose combines the simplicity of a folk tale with the lyricism of a romantic balladeer and the depth of a philosopher, as it encompasses what María considers “her holy trinity: God, love, and death.” Amid the political undercurrent of revolution in Cuba and with a recognition of the racial complexities of America, María finds a new life in Miami, where she raises a daughter whose perspective within the novel ultimately prevails. The result is a sequel that can be relished independently of the first volume while harmonizing with it.
More than worth the wait.Pub Date: June 1, 2010
ISBN: 978-1-4013-2334-9
Page Count: 352
Publisher: Hyperion
Review Posted Online: Dec. 22, 2010
Kirkus Reviews Issue: April 1, 2010
BOOK REVIEW
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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