An unusual and stylish story of love and murder—less a mystery than a study of emotions and cultural mores.
In Japan, a daughter explores the crime of passion that took her mother’s life.
Sumiko was just 7 when her mother died and her father moved away; she was raised by her grandfather, who has always maintained that her mother was killed in a car accident. Twenty years later, she answers a phone call meant for him from a prison administrator with information about inmate Kaitarō Nakamura; when the caller realizes whom she is speaking with, she hangs up. With just this detail, Sumiko begins an obsessive quest. She turns up an article headlined “WAKARESASEYA AGENT GOES TOO FAR?” from which she learns that Kaitarō Nakamura was an agent in the “marriage breakup” industry. He was hired by her father to seduce her mother in order to provide grounds for divorce. Nakamura claims that he and her mother had fallen in love and were about to start a new life together. When Sumiko visits Nakamura's defense attorney, the woman hands over all her files and videotaped interviews with her client. Weaving through the story of Sumiko’s search and her recollections of her childhood is the story of her mother and her lover, from the moment he pretended to meet her accidentally at the market and moving inexorably to the murder scene. Scott is a Singaporean British writer born and raised in Southeast Asia; her debut is inspired by a 2010 case in Tokyo and based on years of research. The book proceeds slowly, lingering on enjoyable details of Japanese landscape and food but perhaps not adding enough new information to maintain the level of interest set by the sensational details in the first pages.
An unusual and stylish story of love and murder—less a mystery than a study of emotions and cultural mores.Pub Date: April 21, 2020
ISBN: 978-0-385-54470-2
Page Count: 352
Publisher: Doubleday
Review Posted Online: Jan. 12, 2020
Kirkus Reviews Issue: Feb. 1, 2020
This book sings with the terrible silence of dead civilizations in which once there was valor.
Written with quiet dignity that builds to a climax of tragic force, this book about the dissolution of an African tribe, its traditions, and values, represents a welcome departure from the familiar "Me, white brother" genre.
Written by a Nigerian African trained in missionary schools, this novel tells quietly the story of a brave man, Okonkwo, whose life has absolute validity in terms of his culture, and who exercises his prerogative as a warrior, father, and husband with unflinching single mindedness. But into the complex Nigerian village filters the teachings of strangers, teachings so alien to the tribe, that resistance is impossible. One must distinguish a force to be able to oppose it, and to most, the talk of Christian salvation is no more than the babbling of incoherent children. Still, with his guns and persistence, the white man, amoeba-like, gradually absorbs the native culture and in despair, Okonkwo, unable to withstand the corrosion of what he, alone, understands to be the life force of his people, hangs himself. In the formlessness of the dying culture, it is the missionary who takes note of the event, reminding himself to give Okonkwo's gesture a line or two in his work, The Pacification of the Primitive Tribes of the Lower Niger.
This book sings with the terrible silence of dead civilizations in which once there was valor.Pub Date: Jan. 23, 1958
ISBN: 0385474547
Page Count: 207
Publisher: McDowell, Obolensky
Review Posted Online: April 23, 2013
Kirkus Reviews Issue: Jan. 1, 1958
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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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