This controversial novel, banned in India for its alleged blasphemy against the Prophet Mohammed, is a surreal hallucinatory feast.
Rushdie (Midnight's Children; Shame, etc.), long a magical realist, turns finally to Islam for his jumping, off point, and his inventiveness never flags. Satan, according to an epigraph by Defoe, has no fixed place to settle, and the difficulty of telling good from evil, the way that one reincarnates into the other, is the theme of this epic tale—which contains stories within stories, dreams within dreams. It begins with the explosion of a hijacked jumbo jet; Gibreel Farishta, a Bombay movie star, and Saladin Chamcha, an exile who lives in Britain, survive their free fall from the plane. Gibreel then presides over the dream/stow worlds of his "arehangelic other self" after he and Saladin are transformed into angelic or satanic opponents. (They are never certain which is which.) The central story concerns Mahound, the Prophet of Jahilia who founds the religion of "those who submit," which parallels Islam; another is about Ayesha, a contemporary visionary who leads a group of villagers to the sea, where she promises that the waves will part before them (they all drown, of course); yet another dream-story involves the Imam, a sort of grim Ayatollah. Such a summary does the book a disservice, however, because all of these stories and many others besides are woven together with cross-references, psychic communications, brisk farces and satires, and interconnected picaresque. Rushdie does for Islam what Mark Helprin did (a little less successfully) for New York in his Winter's Tale: peoples it with fantastic figures that always seem close to some ineffable imaginative truth—even as Rushdie fast-cuts to the next scene in his phantasmagoric dream-time world.
Whether it all finally holds together or not is almost beside the point: this is an entertainment in the highest sense of that much-exploited word.
Pub Date: Jan. 15, 1988
ISBN: 0812976711
Page Count: 325
Publisher: Viking
Review Posted Online: Oct. 4, 2011
Kirkus Reviews Issue: Jan. 15, 1988
SEEN & HEARD
PERSPECTIVES
SEEN & HEARD
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
The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.
Pub Date: Sept. 16, 1992
ISBN: 1400031702
Page Count: 592
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1992
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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