A multifaceted tale that explores love and the fragility of life; the author creates an introspective, poetic story that's...
A winner of Japan’s Kiyama Shohei Literary Award captures life’s ephemeral nature in a tender narrative about a Tokyo couple’s attachment to a neighbor’s cat.
The simplest of relationships often elicit the most complex emotions, as two freelance editors discover in an eloquent tale written by poet and essayist Hiraide and translated by Selland. The husband and wife, who lease a guesthouse on the grounds of an old estate in Tokyo, have lived quietly since quitting their corporate jobs to work as independent contractors, but though they spend more time together in their tiny space, they seem to communicate less and less. The terms of their lease preclude children and pets, so the couple works in semi-isolation from their home, a section of which abuts a tall wooden fence with a knothole separating the grounds from a narrow alley. The optical illusions created by the reflections of passersby walking through the narrow lane create fleeting patterns of life that vanish into thin air, and the couple dubs the path “Lightning Alley.” One day, a small cat appears in the couple’s garden, and the man discovers that the young child of a neighboring family has adopted the tiny creature and named it Chibi. Though the cat doesn’t belong to them, the couple develops a proprietary feeling for the cat as their lives become more centered around its visits. They begin to take joy in small pleasures as the cat, always on its own terms, slips between their neighbors’ home and theirs and even explore options to remain in Chibi’s life when they’re told they must find a new place to live.
A multifaceted tale that explores love and the fragility of life; the author creates an introspective, poetic story that's deeply moving. Cat lovers may be especially moved.Pub Date: Jan. 28, 2014
ISBN: 978-0-8112-2150-4
Page Count: 144
Publisher: New Directions
Review Posted Online: Nov. 23, 2013
Kirkus Reviews Issue: Dec. 15, 2013
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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
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