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THE GIRL WHO READS ON THE MÉTRO

Light and sweet as a bonbon, this little confection of a book is delicious.

Can the gift of a perfect book transform a person’s life?

Juliette, a whimsical Parisian, leads a life far too dull for her magical spirit. She has an ordinary office job in real estate and dates men who are positively yawnworthy. Her love of literature and her active imagination, however, set her on a path to becoming a matchmaker between books and readers. Juliette lives in an almost-alternate reality where passengers on the Métro are actually reading paper books rather than texting friends, swiping Tinder, or even reading e-books. She is intrigued by the man in the green hat who makes his way through an entomology textbook and the hopeless romantic who sobs at page 247 of every book she reads. One morning, Juliette instinctively exits the Métro a few stops early on her commute to find herself at the quirky Books Unlimited, where she meets Soliman and his young daughter, Zaide. There, she is recruited as a book passeur; her mission is to follow strangers and observe their lives in order to give them the gift of the perfect book for that moment in their lives. Part charming stalker, part literary pharmacist, Juliette is more fulfilled as passeur than real estate agent and dives deeper into this secret realm of bibliophilic cupids. With a cast of characters reminiscent of the French film Amélie, Féret-Fleury creates a world that is delightful and enchanting. As she flits about this new universe, Juliette discovers that the life she may change the most is her own. This is the author's first book to appear in English, and it's been deftly translated to maintain the lyrical writing of the original French text.

Light and sweet as a bonbon, this little confection of a book is delicious.

Pub Date: Oct. 8, 2019

ISBN: 978-1-250-31542-7

Page Count: 192

Publisher: Flatiron Books

Review Posted Online: Sept. 1, 2019

Kirkus Reviews Issue: Sept. 15, 2019

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THE HANDMAID'S TALE

Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.

The time is the not-so-distant future, when the US's spiraling social freedoms have finally called down a reaction, an Iranian-style repressive "monotheocracy" calling itself the Republic of Gilead—a Bible-thumping, racist, capital-punishing, and misogynistic rule that would do away with pleasure altogether were it not for one thing: that the Gileadan women, pure and true (as opposed to all the nonbelieving women, those who've ever been adulterous or married more than once), are found rarely fertile.

Thus are drafted a whole class of "handmaids," whose function is to bear the children of the elite, to be fecund or else (else being certain death, sent out to be toxic-waste removers on outlying islands). The narrative frame for Atwood's dystopian vision is the hopeless private testimony of one of these surrogate mothers, Offred ("of" plus the name of her male protector). Lying cradled by the body of the barren wife, being meanwhile serviced by the husband, Offred's "ceremony" must be successful—if she does not want to join the ranks of the other disappeared (which include her mother, her husband—dead—and small daughter, all taken away during the years of revolt). One Of her only human conduits is a gradually developing affair with her master's chauffeur—something that's balanced more than offset, though, by the master's hypocritically un-Puritan use of her as a kind of B-girl at private parties held by the ruling men in a spirit of nostalgia and lust. This latter relationship, edging into real need (the master's), is very effectively done; it highlights the handmaid's (read Everywoman's) eternal exploitation, profane or sacred ("We are two-legged wombs, that's all: sacred vessels, ambulatory chalices"). Atwood, to her credit, creates a chillingly specific, imaginable night-mare. The book is short on characterization—this is Atwood, never a warm writer, at her steeliest—and long on cynicism—it's got none of the human credibility of a work such as Walker Percy's Love In The Ruins. But the scariness is visceral, a world that's like a dangerous and even fatal grid, an electrified fence.

Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.

Pub Date: Feb. 17, 1985

ISBN: 038549081X

Page Count: -

Publisher: Houghton Mifflin

Review Posted Online: Sept. 16, 2011

Kirkus Reviews Issue: Jan. 15, 1985

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IF CATS DISAPPEARED FROM THE WORLD

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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