THE CAT

Irish-born Gray’s third is a dark and amusing political allegory about Cat, Rat, and Mouse, and how they get along after the sudden death of the Professor, the owner of Chez Maupassant. Gray’s second novel, The Political Map of the Heart, won the World One Day Novel Competition for being written in a 24-hour period at the Groucho Club in London. Although The Cat clearly took more than 24 hours to write, what it’s about is less clear, apart from the fact that it’s not as obvious as George Orwell’s Animal Farm (which Mouse is reading). Perhaps it’s about British politics or the collapse of Communism? In any case, after the Professor falls dead at the fridge, having stuffed himself with desserts, and lies like the statue of Ozymandias on the kitchen lino, his face lathered with whipped cream, Rat and Mouse climb over the body and invade the open fridge. Next day, Mrs. Professor has the body removed and later sells the house and moves out. Suddenly, the place is swept clean, and Rat, arising like a labor leader, tries to organize the house on new principles, without Cat having the top post. Mouse, a spineless intellectual, is Rat’s assistant—until he gets fed up and disappears. While Rat organizes the garden creatures, Cat falls in with Tom, who finds every night a good night for girls. “Pussy!” he purrs with a low growl. Then Cat takes up television and learns to speak like a human to the house’s new owner, Mrs. Digby. Eventually, Cat takes over again, asking, “D’ye think Rat knows about accounts?” Cat is back, in Mrs. Digby’s lap, while Rat and Mouse turn gray like old pensioners. Gray’s characters amuse in their parody of human beings, but not everyone will feel an urge to read secondary meanings into their trials.

Pub Date: Nov. 10, 1998

ISBN: 0-88001-614-0

Page Count: 128

Publisher: Ecco/HarperCollins

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Sept. 1, 1998

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ONE DAY IN THE LIFE OF IVAN DENISOVICH

While a few weeks ago it seemed as if Praeger would have a two month lead over Dutton in their presentation of this Soviet best seller, both the "authorized" edition (Dutton's) and the "unauthorized" (Praeger's) will appear almost simultaneously. There has been considerable advance attention on what appears to be as much of a publishing cause celebre here as the original appearance of the book in Russia. Without entering into the scrimmage, or dismissing it as a plague on both your houses, we will limit ourselves to a few facts. Royalties from the "unauthorized" edition will go to the International Rescue Committee; Dutton with their contracted edition is adhering to copyright conventions. The Praeger edition has two translators and one of them is the translator of Doctor Zhivago Dutton's translator, Ralph Parker, has been stigmatized by Praeger as "an apologist for the Soviet regime". To the untutored eye, the Dutton translation seems a little more literary, the Praeger perhaps closer to the rather primitive style of the original. The book itself is an account of one day in the three thousand six hundred and fifty three days of the sentence to be served by a carpenter, Ivan Denisovich Shukhov. (Solzhenitsyn was a political prisoner.) From the unrelenting cold without, to the conditions within, from the bathhouse to the latrine to the cells where survival for more than two weeks is impossible, this records the hopeless facts of existence as faced by thousands who went on "living like this, with your eyes on the ground". The Dutton edition has an excellent introduction providing an orientation on the political background to its appearance in Russia by Marvin Kalb. All involved in its publication (translators, introducers, etc.) claim for it great "artistic" values which we cannot share, although there is no question of its importance as a political and human document and as significant and tangible evidence of the de-Stalinization program.

Pub Date: June 15, 1963

ISBN: 0451228146

Page Count: 181

Publisher: Praeger

Review Posted Online: Oct. 5, 2011

Kirkus Reviews Issue: June 15, 1963

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Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the...

FLY AWAY

Hannah’s sequel to Firefly Lane (2008) demonstrates that those who ignore family history are often condemned to repeat it.

When we last left Kate and Tully, the best friends portrayed in Firefly Lane, the friendship was on rocky ground. Now Kate has died of cancer, and Tully, whose once-stellar TV talk show career is in free fall, is wracked with guilt over her failure to be there for Kate until her very last days. Kate’s death has cemented the distrust between her husband, Johnny, and daughter Marah, who expresses her grief by cutting herself and dropping out of college to hang out with goth poet Paxton. Told mostly in flashbacks by Tully, Johnny, Marah and Tully’s long-estranged mother, Dorothy, aka Cloud, the story piles up disasters like the derailment of a high-speed train. Increasingly addicted to prescription sedatives and alcohol, Tully crashes her car and now hovers near death, attended by Kate’s spirit, as the other characters gather to see what their shortsightedness has wrought. We learn that Tully had tried to parent Marah after her father no longer could. Her hard-drinking decline was triggered by Johnny’s anger at her for keeping Marah and Paxton’s liaison secret. Johnny realizes that he only exacerbated Marah’s depression by uprooting the family from their Seattle home. Unexpectedly, Cloud, who rebuffed Tully’s every attempt to reconcile, also appears at her daughter’s bedside. Sixty-nine years old and finally sober, Cloud details for the first time the abusive childhood, complete with commitments to mental hospitals and electroshock treatments, that led to her life as a junkie lowlife and punching bag for trailer-trash men. Although powerful, Cloud’s largely peripheral story deflects focus away from the main conflict, as if Hannah was loath to tackle the intractable thicket in which she mired her main characters.

Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the pages turning even as readers begin to resent being drawn into this masochistic morass.

Pub Date: April 23, 2013

ISBN: 978-0-312-57721-6

Page Count: 416

Publisher: St. Martin's

Review Posted Online: Feb. 18, 2013

Kirkus Reviews Issue: March 1, 2013

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