The prolific Shimada (The Tokyo Zodiac Murders, 2015 deserves to have more of his work translated into English. He creates a...
A locked-room mystery in a uniquely built mansion is not so much a whodunit as a how-done-it…illustrated!
A list of dramatis personae, a detailed drawing of the Ice Floe Mansion, and a plummy prologue theatrically set the scene. The story is divided into four “Acts,” each of them in turn divided into “Scenes,” with the final act preceded by a challenge to the reader. The puzzle begins when oil executive Kozaburo Hamamoto invites a diverse group of eight guests to his mansion on a snowy night. He embarrasses his daughter, Eiko, by suggesting that one of the male guests might be her new husband. Once everyone has been locked into their rooms, a series of unusual events begins. In her room at the top, guest Kumi Aikura sees a threatening man appear, impossibly, at her window. It’s a snowy night, but no footprints show up anywhere around the house except when the party ventures out to see what they think is a corpse but turns out to be an antique doll Kozaburo purchased in Czechoslovakia. Whoever placed it there also decapitated it. The next morning, when guest Kazuya Ueda, the chauffeur of industrialist Eikichi Kikuoka, fails to appear for breakfast, his locked room is broken into and he’s found dead, bound to his bed frame. Enter a team of police, led by DCI Saburo Ushikoshi, who begins the methodical questioning of suspects and the (armchair) sleuthing.
The prolific Shimada (The Tokyo Zodiac Murders, 2015 deserves to have more of his work translated into English. He creates a delightfully intricate murder puzzle with retro charm, bound to tantalize readers.Pub Date: June 25, 2019
ISBN: 978-1-78227-456-8
Page Count: 352
Publisher: Pushkin Press
Review Posted Online: March 30, 2019
Kirkus Reviews Issue: April 15, 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
A raw and incandescently written foray into fiction by one of our most gifted poets.
A young man writes a letter to his illiterate mother in an attempt to make sense of his traumatic beginnings.
When Little Dog is a child growing up in Hartford, he is asked to make a family tree. Where other children draw full green branches full of relatives, Little Dog’s branches are bare, with just five names. Born in Vietnam, Little Dog now lives with his abusive—and abused—mother and his schizophrenic grandmother. The Vietnam War casts a long shadow on his life: His mother is the child of an anonymous American soldier—his grandmother survived as a sex worker during the conflict. Without siblings, without a father, Little Dog’s loneliness is exacerbated by his otherness: He is small, poor, Asian, and queer. Much of the novel recounts his first love affair as a teen, with a “redneck” from the white part of town, as he confesses to his mother how this doomed relationship is akin to his violent childhood. In telling the stories of those who exist in the margins, Little Dog says, “I never wanted to build a ‘body of work,’ but to preserve these, our bodies, breathing and unaccounted for, inside the work.” Vuong has written one of the most lauded poetry debuts in recent memory (Night Sky with Exit Wounds, 2016), and his first foray into fiction is poetic in the deepest sense—not merely on the level of language, but in its structure and its intelligence, moving associationally from memory to memory, quoting Barthes, then rapper 50 Cent. The result is an uncategorizable hybrid of what reads like memoir, bildungsroman, and book-length poem. More important than labels, though, is the novel’s earnest and open-hearted belief in the necessity of stories and language for our survival.
A raw and incandescently written foray into fiction by one of our most gifted poets.Pub Date: June 4, 2019
ISBN: 978-0-525-56202-3
Page Count: 256
Publisher: Penguin Press
Review Posted Online: March 17, 2019
Kirkus Reviews Issue: April 1, 2019
BOOK REVIEW
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