From the author of the well-received The Bean Trees (1987), 12 far-reaching and mostly affecting stories that seem wise in the ways of many places—from Kentucky to Arizona to the island of St. Lucia. Kingsolver's voice has remarkable range but seems truest when it's slightly offbeat, in stories full of legend, black magic, or just plain rumor. Great-Mam—an old Cherokee woman in the title story—hands over the whole weight of the world to her great-granddaughter Gloria, and the child understands that it's a burden she will cherish. In "Jump-Up Day," Jericha, the daughter of an English doctor, meets a medicine man on the Caribbean island where rite's living and learns new lessons about healing. And Georgeann, in "Rose-Johnny," risks disgrace to befriend a strange woman who's always been shunned by others in their rural community. A couple of the pieces here—"Blueprints," "Bereaved Apartments"—seem to be striving for some level of meaning that they never quite reach. And the Kentucky stories that seek to juxtapose modern day life with old-time values would be wonderful if they didn't feel uncomfortably like clones of Bobbie Ann Mason's writing. But what's memorable here is the strength—and variety—of Kingsolver's own style. Vicki, the Hispanic union organizer in "Why I am a Danger to the Public," comes to life as vividly and sympathetically as the Waspy, adulterous doctor's wife who narrates "Stone Dreams." Kingsolver's stories are so sharply defined and deftly constructed that their lackluster endings come as a disappointment—they don't support all the talent that the stories contain. No crescendos here, then, but, still, a lovely repertoire.
Pub Date: June 1, 1989
ISBN: 0060917016
Page Count: 276
Publisher: Harper & Row
Review Posted Online: Sept. 27, 2011
Kirkus Reviews Issue: May 15, 1989
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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