A haunting captor/prisoner love story set during the Japanese occupation of China, by the author of the story collection The Light of Home (1992). The year is 1938. Captain Kuroda is a reluctant and unskilled Japanese officer, a botanist by training, tormented by memories of the Nanking massacre: the squeals of children being killed, the smell of burning flesh, the dismembered bodies, the sight of a pregnant woman bayoneted in the abdomen, the ``constant rape.'' His army has moved on, leaving him the commander of a small garrison in the rolling hills of east-central China. When he comes upon his soldiers raping a filthy and starving woman, he intervenes for reasons he doesn't fully understand, and takes her under his protection. The daughter of a doctor, Li speaks Japanese; glad of the warmth of his quarters, she cooks for him but avoids his questions. Slowly, though, communication begins: He shows her a bamboo grove and talks about plants; she suggests that she should be his mistress. Isolated from his peers, Kuroda is renewed by this woman who seems to enjoy making love to him; she responds to how much he needs her and senses in him a trustworthiness in a world bereft of trust. As the lovers each realize the impossibility of a future, their attachment intensifies. Stabbed and dying, Kuroda tells of the horrors he's witnessed; Li holds him in her arms: ``I said he could forget it now, that I would remember.'' Using spare, unadorned prose, Binstock manages evocatively to juxtapose the occupying army's totalitarian cosmos, predicated on murder, rape, and the absolute lack of safety, with the tender realm temporarily created by these two damaged but deep-feeling lovers. A first novel unrelenting in its rendition of wartime cruelty, but tempered with a bracing reminder that deep human feelings can and will sprout from scorched earth.

Pub Date: Aug. 15, 1995

ISBN: 1-56947-038-3

Page Count: 224

Publisher: Soho

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: June 1, 1995

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An enjoyable, cozy novel that touches on tough topics.


A group of strangers who live near each other in London become fast friends after writing their deepest secrets in a shared notebook.

Julian Jessop, a septuagenarian artist, is bone-crushingly lonely when he starts “The Authenticity Project”—as he titles a slim green notebook—and begins its first handwritten entry questioning how well people know each other in his tiny corner of London. After 15 years on his own mourning the loss of his beloved wife, he begins the project with the aim that whoever finds the little volume when he leaves it in a cafe will share their true self with their own entry and then pass the volume on to a stranger. The second person to share their inner selves in the notebook’s pages is Monica, 37, owner of a failing cafe and a former corporate lawyer who desperately wants to have a baby. From there the story unfolds, as the volume travels to Thailand and back to London, seemingly destined to fall only into the hands of people—an alcoholic drug addict, an Australian tourist, a social media influencer/new mother, etc.—who already live clustered together geographically. This is a glossy tale where difficulties and addictions appear and are overcome, where lies are told and then forgiven, where love is sought and found, and where truths, once spoken, can set you free. Secondary characters, including an interracial gay couple, appear with their own nuanced parts in the story. The message is strong, urging readers to get off their smartphones and social media and live in the real, authentic world—no chain stores or brands allowed here—making friends and forming a real-life community and support network. And is that really a bad thing?

An enjoyable, cozy novel that touches on tough topics.

Pub Date: Feb. 4, 2020

ISBN: 978-1-9848-7861-8

Page Count: 368

Publisher: Pamela Dorman/Viking

Review Posted Online: Oct. 27, 2019

Kirkus Reviews Issue: Nov. 15, 2019

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A strict report, worthy of sympathy.


A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.

"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….

A strict report, worthy of sympathy.

Pub Date: June 15, 1951

ISBN: 0316769177

Page Count: -

Publisher: Little, Brown

Review Posted Online: Nov. 2, 2011

Kirkus Reviews Issue: June 15, 1951

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