Subtly political, deeply humane, a story about home, loss, and the cost of a country's advancement.
In award-winning Korean author Hwang's (Princess Bari, 2019, etc.) latest novel, a successful architect from a poor family reconnects with his first love many decades later.
As the title suggests, Park Minwoo has reached his twilight years. Friends and colleagues are beginning to die. "No one should ever forget their roots," one tells him gravely, but Minwoo feels embarrassed by the thought. He grew up in a Seoul slum called Moon Hollow in "a shabby house with wooden boards instead of glass in the windows," his parents eking out a living selling fishcakes. Determined to escape, he studied hard, stayed in school, and did well on his university exams. The only other high school student in Moon Hollow was the beautiful and sought-after Cha Soona, who secretly loved him. For decades Minwoo has repressed Soona's significance to him; he married well, studied abroad, and pursued a career that helped modernize Korea. But when he receives Soona's memoir in an email, his wife has moved to the U.S. to be near their daughter, and his company is under scrutiny due to corruption scandals. Soona remembers Moon Hollow with cleareyed affection in spite of what she endured there; her account dredges up their shared past, forcing him to reconsider his achievements and reckon for the first time with what he lost. The chapters alternate between Minwoo's point of view and that of a young, struggling playwright whose connection to the story emerges only gradually. Having been imprisoned for political reasons, Hwang has a restrained, delicate touch, alive to the nuances of memory, the slipperiness of the past, and the difficult choices life forces us to make. Minwoo's reexamination of his past serves as a reminder of the communities destroyed in the search for a better, more modern Korea, the lives disrupted and displaced, and the people left behind.
Subtly political, deeply humane, a story about home, loss, and the cost of a country's advancement.Pub Date: July 16, 2019
ISBN: 978-1-947534-66-7
Page Count: 192
Publisher: Scribe
Review Posted Online: April 27, 2019
Kirkus Reviews Issue: May 15, 2019
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
SEEN & HEARD
BOOK TO SCREEN
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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