For fans of literate pop as much as of Ishiguro’s body of work.
The Nobel Prize–winning novelist reveals his inner Elvis Costello.
“I’ve built a reputation over the years as a writer of stories,” says Ishiguro, “but I started out writing songs.” Never an underachiever, Ishiguro reveals that in fact he’d written more than 100 songs by the time his first novel, A Pale View of Hills, was underway. Though the songs, he allows, were “mostly ghastly,” their writing provided a useful apprenticeship in verbal economy: Along the way, he notes before revealing any of the lyrics themselves, he learned from the challenges a song imposes, such as conveying meaning in just a few words, telling a story, and drawing a reader’s emotions into the game without, one hopes, undue mawkishness. The present volume gathers a modest 16 songs, illustrated by Italian artist Bagnarelli, whose work is charmingly suggestive of the eerily whimsical productions of Japan’s Studio Ghibli; the lyrics are matched, via the magic of a QR code, with recorded versions sung by jazz chanteuse Kent. When she told Ishiguro that his songs were sad, he replied, “However sad, however bleak the song became, there had to remain an element of hope.” Sad some of the lyrics may be, but they’re also craftily wordy in a way that Cole Porter might envy: It ain’t “Begin the Beguine,” but “I want to be awakened by a faulty fire alarm / In an overpriced hotel devoid of charm” has its evocative qualities, while Leonard Cohen might not have been displeased had he penned the lines “Like a bird caught mid-flight by a barb-wire fence / I kept going for a time before falling.” Ishiguro isn’t going to force Joni Mitchell into retirement, but it’s a well-intended effort overall, and an interesting side note into a way of storytelling other than that for which the author is known.
For fans of literate pop as much as of Ishiguro’s body of work.Pub Date: March 5, 2024
ISBN: 9780593802519
Page Count: 120
Publisher: Knopf
Review Posted Online: Jan. 20, 2024
Kirkus Reviews Issue: Feb. 15, 2024
Even so, this remains Macbeth, arguably the Bard of Avon’s most durable and multilayered tragedy, and overall, this enhanced...
A pairing of the text of the Scottish Play with a filmed performance, designed with the Shakespeare novice in mind.
The left side of the screen of this enhanced e-book contains a full version of Macbeth, while the right side includes a performance of the dialogue shown (approximately 20 lines’ worth per page). This granular focus allows newcomers to experience the nuances of the play, which is rich in irony, hidden intentions and sudden shifts in emotional temperature. The set and costuming are deliberately simple: The background is white, and Macbeth’s “armor” is a leather jacket. But nobody’s dumbing down their performances. Francesca Faridany is particularly good as a tightly coiled Lady Macbeth; Raphael Nash-Thompson gives his roles as the drunken porter and a witch a garrulousness that carries an entertainingly sinister edge. The presentation is not without its hiccups. Matching the video on the right with the text on the left means routinely cutting off dramatic moments; at one point, users have to swipe to see and read the second half of a scene’s closing couplet—presumably an easy fix. A “tap to translate” button on each page puts the text into plain English, but the pop-up text covers up Shakespeare’s original, denying any attempts at comparison; moreover, the translation mainly redefines more obscure words, suggesting that smaller pop-ups for individual terms might be more meaningful.
Even so, this remains Macbeth, arguably the Bard of Avon’s most durable and multilayered tragedy, and overall, this enhanced e-book makes the play appealing and graspable to students . (Enhanced e-book. 12 & up)Pub Date: Sept. 9, 2013
ISBN: N/A
Page Count: -
Publisher: The New Book Press LLC
Review Posted Online: Nov. 6, 2013
Kirkus Reviews Issue: Dec. 1, 2013
Immensely enjoyable.
The debut graphic novel from Mohamed presents a modern Egypt full of magical realism where wishes have been industrialized and heavily regulated.
The story opens with a televised public service announcement from the General Committee of Wish Supervision and Licensing about the dangers of “third-class wishes”—wishes that come in soda cans and tend to backfire on wishers who aren’t specific enough (like a wish to lose weight resulting in limbs falling from the wisher’s body). Thus begins a brilliant play among magic, the mundane, and bureaucracy that centers around a newsstand kiosk where a devout Muslim is trying to unload the three “first-class wishes” (contained in elegant glass bottles and properly licensed by the government) that have come into his possession, since he believes his religion forbids him to use them. As he gradually unloads the first-class wishes on a poor, regretful widow (who then runs afoul of authorities determined to manipulate her out of her valuable commodity) and a university student who seeks a possibly magical solution to their mental health crisis (but struggles with whether a wish to always be happy might have unintended consequences), interstitials give infographic histories of wishes, showing how the Western wish-industrial complex has exploited the countries where wishes are mined (largely in the Middle East). The book is exceptionally imaginative while also being wonderfully grounded in touching human relationships, existential quandaries, and familiar geopolitical and socio-economic dynamics. Mohamed’s art balances perfectly between cartoon and realism, powerfully conveying emotions, and her strong, clean lines gorgeously depict everything from an anguished face to an ornate bottle. Charts and graphs nicely break up the reading experience while also concisely building this larger world of everyday wishes. Mohamed has a great sense of humor, which comes out in footnotes and casual asides throughout.
Immensely enjoyable.Pub Date: Jan. 10, 2023
ISBN: 978-1-524-74841-8
Page Count: 528
Publisher: Pantheon
Review Posted Online: Oct. 26, 2022
Kirkus Reviews Issue: Nov. 15, 2022
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