Shortlisted for the Man Booker Prize, this novel is uncompromising and relentless in the demands it makes upon the reader,...
Brainy and outlandish, though still in the mainstream of modernist fiction, this book captures a number of eccentric voices and sends the reader running to the dictionary.
The epigraph to the novel is, fittingly, from Joyce’s Ulysses: “A brother is as easily forgotten as an umbrella,” and Self offers us an account of Audrey Death and her two brothers, Albert and Stanley. Originally Audrey De’Ath, her name transmutes to Deerth and then to Dearth, a prime example of Self’s—dare I say self-consciously?—Joycean word play. By whatever name, Audrey was born in 1890, came of age in the Edwardian era, involved herself in the suffragette movement, worked for a while in an umbrella shop, became ill with encephalitis lethargica (aka “sleeping sickness”) toward the end of World War I and was institutionalized in 1922 at a mental hospital in north London. Now it’s 1971, and Dr. Zachary Busner, a recurring character in Self’s novels and stories, tries to treat her—and other sufferers from the illness—to bring them out of their catatonia. Self plunges the reader into the twisted conscious minds of both Audrey and Zach, a feat that’s in equal parts exhilarating and bewildering. Consider the following description of a pianist Audrey had heard in her past: “Ooh, yairs, isn’t it luvverly, such fine mahoggerny—while the fellow’s knees rose and fell as he trod in the melody, Doo-d’doo, doo d’doo, doo d’dooo, doo d’dooo, triplets of notes going up and down.” The novel disdains such literary conventions as chapters and just plunges us into the inner worlds of its characters.
Shortlisted for the Man Booker Prize, this novel is uncompromising and relentless in the demands it makes upon the reader, yet there’s a lyrical, rhapsodic element that continually pulls one into and through the narrative.Pub Date: Jan. 8, 2013
ISBN: 978-0-8021-2072-4
Page Count: 448
Publisher: Grove
Review Posted Online: Oct. 10, 2012
Kirkus Reviews Issue: Nov. 1, 2012
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
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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