A diffident debut from poet Taniguchi.

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THE OCEAN IN THE CLOSET

Three generations suffer war’s devastation.

It’s 1975, and English professor Hideo Takagawa is dreading a visit from his grandniece, Helen, age nine. His sister Ume died shortly after giving birth to Helen’s mother, Anna. Son of a cruel, distant father and a gentle mother killed in the firebombing of Tokyo, Hideo returned from WWII to his hometown, near Hiroshima, to find the family silkworm business in ruins. His father has disowned Ume, a comfort woman in a Japanese-government-sponsored brothel for American occupying forces. Knowing Ume’s mixed-race child will be shunned in Japan, Hideo places Anna with an orphanage specializing in finding American adoptive parents. The story shifts to San Francisco, where grownup Anna, a borderline psychotic, locks her children, Helen and Ken, in a closet, and scares them with stories of a vindictive ghost named Shizuka. Anna’s war-veteran husband, James, scarred by Vietnam horrors, withdraws from his family, and Anna breaks down after retrieving the children from camp. James’s brother Steve and wife Mary take in the children, providing their first taste of unconditional love. Steve resolves to crack the puzzle of Anna’s mental illness and takes Helen to Japan to investigate his sister-in-law’s childhood. Hideo and his wife Chiyo, who once worked at the orphanage, take Helen and Steve to Hachiman shrine, where they learn that Shizuka was not only Anna’s namesake, but a heroic 12th-century temple dancer. Chiyo also is haunted by war: Her mother died during the exodus of Japanese colonists from Manchuria. Helen’s point-of-view sections are limited to the naïve, quotidian perceptions of a child. Hideo’s narrative is more incisive and insightful, but the quest for the smoking gun in Anna’s past lacks driving conflict. Anna and James remain ciphers—unfortunate, since a story whose central enigma is a couple’s failure as parents and partners demands more than cursory character sketches.

A diffident debut from poet Taniguchi.

Pub Date: May 1, 2007

ISBN: 1-56689-194-9

Page Count: 268

Publisher: Coffee House

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Feb. 15, 2007

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Though gripping, even moving at times, the novel doesn’t do justice to the solemn history from which it is drawn.

CILKA'S JOURNEY

In this follow-up to the widely read The Tattooist of Auschwitz (2018), a young concentration camp survivor is sentenced to 15 years’ hard labor in a Russian gulag.

The novel begins with the liberation of Auschwitz by Soviet troops in 1945. In the camp, 16-year-old Cecilia "Cilka" Klein—one of the Jewish prisoners introduced in Tattooist—was forced to become the mistress of two Nazi commandants. The Russians accuse her of collaborating—they also think she might be a spy—and send her to the Vorkuta Gulag in Siberia. There, another nightmarish scenario unfolds: Cilka, now 18, and the other women in her hut are routinely raped at night by criminal-class prisoners with special “privileges”; by day, the near-starving women haul coal from the local mines in frigid weather. The narrative is intercut with Cilka’s grim memories of Auschwitz as well as her happier recollections of life with her parents and sister before the war. At Vorkuta, her lot improves when she starts work as a nurse trainee at the camp hospital under the supervision of a sympathetic woman doctor who tries to protect her. Cilka also begins to feel the stirrings of romantic love for Alexandr, a fellow prisoner. Though believing she is cursed, Cilka shows great courage and fortitude throughout: Indeed, her ability to endure trauma—as well her heroism in ministering to the sick and wounded—almost defies credulity. The novel is ostensibly based on a true story, but a central element in the book—Cilka’s sexual relationship with the SS officers—has been challenged by the Auschwitz Memorial Research Center and by the real Cilka’s stepson, who says it is false. As in Tattooist, the writing itself is workmanlike at best and often overwrought.

Though gripping, even moving at times, the novel doesn’t do justice to the solemn history from which it is drawn.

Pub Date: Oct. 1, 2019

ISBN: 978-1-250-26570-8

Page Count: 352

Publisher: St. Martin's

Review Posted Online: Oct. 28, 2019

Kirkus Reviews Issue: Nov. 15, 2019

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If nothing else, you have to giggle over how this novel’s namesake, who held vicious white supremacist opinions, must be...

LOVECRAFT COUNTRY

Some very nice, very smart African-Americans are plunged into netherworlds of malevolent sorcery in the waning days of Jim Crow—as if Jim Crow alone wasn’t enough of a curse to begin with.

In the northern U.S. of the mid-1950s, as depicted in this merrily macabre pastiche by Ruff (The Mirage, 2012, etc.), Driving While Black is an even more perilous proposition than it is now. Ask Atticus Turner, an African-American Korean War veteran and science-fiction buff, who is compelled to face an all-too-customary gauntlet of racist highway patrolmen and hostile white roadside hamlets en route from his South Side Chicago home to a remote Massachusetts village in search of his curmudgeonly father, Montrose, who was lured away by a young white “sharp dresser” driving a silver Cadillac with tinted windows. At least Atticus isn’t alone; his uncle George, who puts out annual editions of The Safe Negro Travel Guide, is splitting driving duties in his Packard station wagon “with inlaid birch trim and side paneling.” Also along for the ride is Atticus’ childhood friend Letitia Dandridge, another sci-fi fan, whose family lived in the same neighborhood as the Turners. It turns out this road trip is merely the beginning of a series of bizarre chimerical adventures ensnaring both the Turner and Dandridge clans in ancient rituals, arcane magical texts, alternate universes, and transmogrifying potions, all of which bears some resemblance to the supernatural visions of H.P. Lovecraft and other gothic dream makers of the past. Ruff’s ripping yarns often pile on contrivances and overextend the narratives in the grand manner of pulp storytelling, but the reinvented mythos here seems to have aroused in him a newfound empathy and engagement with his characters.

If nothing else, you have to giggle over how this novel’s namesake, who held vicious white supremacist opinions, must be doing triple axels in his grave at the way his imagination has been so impudently shaken and stirred.

Pub Date: Feb. 16, 2016

ISBN: 978-0-06-229206-3

Page Count: 432

Publisher: Harper/HarperCollins

Review Posted Online: Nov. 4, 2015

Kirkus Reviews Issue: Nov. 15, 2015

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