Armstrong is talented, but her emotional delicacy is in danger of drowning in the portentous atmospherics.
Myths of paternity unravel when an orphaned teen returns to her family’s remote Australian farm during the rainy season.
Mood is everything in Armstrong’s debut, a rites-of-passage tale set in a claustrophobic valley community. Heat and rain mingle with mud and mist as illegitimate 14-year-old Allie moves in with Aunt Julia after her mother Mae’s drowning in Sydney harbor. Julia, who lives on the old family spread, is obliterating the farm, turning the land back over to forest while guarding a weighty secret. Mae grew up here with her first love, local boy Saul; years later, she wove stories about the identity of Allie’s father that simultaneously implicated Saul and a mysterious balloon man met at a fair. Allie stalks Saul, but he denies he and Mae were ever lovers. Armstrong ratchets up the symbolism as steamy rains fall, flood levels rise, the forest creeps and sexual liaisons surface. Finally, as the water overflows, we learn the truth about Mae, who was sexually abused by her father. Tired of the loneliness created by her burden of silence and pushed over the edge by her married lover’s violence, she chose death. Written with a touching absorption in its slender material, the novel finally finds Allie accepting the reasons behind her mother’s watery suicide.
Armstrong is talented, but her emotional delicacy is in danger of drowning in the portentous atmospherics.Pub Date: April 26, 2006
ISBN: 1-59692-173-0
Page Count: 220
Publisher: MacAdam/Cage
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 2006
A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.
Pub Date: Aug. 26, 1946
ISBN: 0452277507
Page Count: 114
Publisher: Harcourt, Brace
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: Aug. 1, 1946
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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