Reading this collection of Burroughs' unpublished work from 1953 to 1958, "you are present at the beginning" of his career, as his editor gushes. When finished, though, you're much less certain you wanted to be there, for these fugitive pieces of mostly questionable merit will interest only dedicated Burroughs fans. Except for an amateurish story co-written in college ("Twilight's Last Gleamings"), the writings collected here fall between Burroughs' first novel, Junky—a straightforward account of life as a drug addict—and Naked Lunch, the wild anti-novel that eventually brought him fame. Anyone who's read Ted Morgan's recent, adulatory biography (Literary Outlaw, p. 1452) will recognize the autobiographical basis for many of the stories. "The Finger," about a Van Gogh-like act of desperation, and "Driving Lesson," about two drunken young men smashing up Daddy's car, both derive from memorable episodes in Burroughs' early days. "The Junky's Christmas," a simply told tale of trying to score drugs on the holiday, ends with a Beat variation of an O. Henry twist. Other stories concern the decadent life Burroughs was to discover in Tangier; the endless drugs and willing young boys of "Lee and the Boys"; and the pathetic old queens and nasty whores of "In the Cafe Central." Much of the remaining prose is drawn from journals kept during those years in Morocco, and from letters to Allen Ginsberg that are now on deposit at Columbia. Included are portraits (of Brion Gysin and Paul Bowles); observations (on failure, cats, Arabs, and crime); memoirs (of sex, drugs, dreams, and writing habits); and comic vignettes (a blackmail scenario, and a TV ad for a bug repellent for buggers). Also found among Ginsberg's papers was the longish "Interzone," originally part of Naked Lunch, and accurately described by Grauerholz as "a manic, surreal, willfully disgusting and violently purgative regurgitation" of Burroughs' graphic imagery. In all, food for doubt that adds little to the Burroughs reputation.
Pub Date: Feb. 1, 1982
ISBN: 0140094512
Page Count: -
Publisher: Viking
Review Posted Online: Sept. 19, 2011
Kirkus Reviews Issue: Jan. 15, 1988
BOOK REVIEW
BOOK REVIEW
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
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
