It must have been fun to throw all these semi-compatible elements together, but it’s not nearly as enjoyable for the...
A potent ghost story is buried under several layers of complication and explication in this highly imaginative, unfortunately labored tale from the popular author of Wicked (1995) and Confessions of an Ugly Stepsister (1999).
The fantasy elements that predominate in Maguire’s work (which also includes numerous juveniles) are strongly present in the story of Winifred Rudge, a successful writer of both books for children and “a trashy self-help succès de scandale,” The Dark Side of the Zodiac, whose current work in progress is interrupted (and influenced) by intrusive paranormal phenomena. While mulling over the fictional idea of a woman writer haunted by the ghost of Jack the Ripper, Winifred travels from her home in a Boston suburb to the London “rowhouse” owned formerly by her family and currently by her “stepcousin” and soulmate John Comestor, who has unaccountably disappeared (surely he was expecting her arrival?), leaving behind a flat occupied by two clueless workmen and (it seems) a particularly rowdy poltergeist. Perhaps this visitant is the aforementioned Ripper, or one of his female victims—or indeed the ghost of Winifred’s guilty ancestor Ozias Rudge (“the prototype for Charles Dickens’s Ebeneezer Scrooge,” as rumor has it). Winifred investigates all these possibilities, enlisting the aid of Comestor’s standoffish former mistress, a visiting American academic who specializes in medieval supernaturalism, a harried foreign-born young widow with occasional psychic powers, and a dotty downstairs tenant, cat-loving Mrs. Maddingly, who’s a virtual dead ringer for Dickens’s immortal, verbally dyslexic slattern Sairy Gamp. Things go bump in the night, the repressed details of Winifred’s past dovetail with her imaginative creations, and Maguire wraps it up with a genuinely creepy climactic ghostly confrontation.
It must have been fun to throw all these semi-compatible elements together, but it’s not nearly as enjoyable for the overburdened reader. Maguire’s free-ranging, high-energy imagination is a wonder to behold—but Lost is likely to lose many readers along the way.Pub Date: Oct. 1, 2001
ISBN: 0-06-039382-3
Page Count: 352
Publisher: N/A
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Aug. 15, 2001
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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