Kim’s gifts may need a bigger canvas than the short form allows to spread his wings. Still, this is a lively, enthralling...
These tales of obsession reverberate with the hard, cool, and dryly comic voice of one of South Korea’s most versatile writers (I Hear Your Voice, 2017, etc.).
In the title story, which takes up practically half of this svelte collection, Kim Byeongsu is entering his eighth decade afflicted with Alzheimer’s. Because his mind has shattered into fragments that wander or collide, he is compelled to write down everything and anything that comes into his head before it vanishes into the ether. Observations, random encounters, physical details, reminiscences, pieces of poetry—they all somehow find their ways into his journal. When he’s able to connect some of these jottings, Byeongsu determines that there’s a serial killer at loose in his neighborhood and that the next victim could be his daughter, Eunhui. Such reasoning is based on personal experience: Byeongsu himself was a career serial killer who managed to evade the law for three decades until he quit and took up…bowling? Maybe it was a car accident that shook him out of “the work that [he's] best at.” He’s not sure, and neither are we. Creeping anxiety and Kafkaesque humor meld in this deceptively intricate novella (the foundation of a 2017 movie, Memoir of a Murderer, co-scripted by its author), goading you into believing just about anything Byeongsu says, no matter how disreputable his past or unreliable his memory. The other three stories retain the first one’s chilliness (sustained nicely with help from Lee’s translation), which comes across somewhat diffused in different, but no less jolting, contexts. In “The Origin of Life,” a liaison between former childhood friends distorts itself into what appears at first to be a romantic triangle but coalesces into a more rhomboidlike shape. “Missing Child” ramps up the intimacy of terror (and vice versa) in chronicling a kidnap case, while “The Writer” frolics with sex, lies, and philosophy in tracking the crash and burn of its title character.
Kim’s gifts may need a bigger canvas than the short form allows to spread his wings. Still, this is a lively, enthralling introduction to his eclectic artistry.Pub Date: April 16, 2019
ISBN: 978-1-328-54542-8
Page Count: 208
Publisher: Mariner/Houghton Mifflin Harcourt
Review Posted Online: Jan. 27, 2019
Kirkus Reviews Issue: Feb. 15, 2019
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.
Are we not men? We are—well, ask Bigfoot, as Brooks does in this delightful yarn, following on his bestseller World War Z(2006).
A zombie apocalypse is one thing. A volcanic eruption is quite another, for, as the journalist who does a framing voice-over narration for Brooks’ latest puts it, when Mount Rainier popped its cork, “it was the psychological aspect, the hyperbole-fueled hysteria that had ended up killing the most people.” Maybe, but the sasquatches whom the volcano displaced contributed to the statistics, too, if only out of self-defense. Brooks places the epicenter of the Bigfoot war in a high-tech hideaway populated by the kind of people you might find in a Jurassic Park franchise: the schmo who doesn’t know how to do much of anything but tries anyway, the well-intentioned bleeding heart, the know-it-all intellectual who turns out to know the wrong things, the immigrant with a tough backstory and an instinct for survival. Indeed, the novel does double duty as a survival manual, packed full of good advice—for instance, try not to get wounded, for “injury turns you from a giver to a taker. Taking up our resources, our time to care for you.” Brooks presents a case for making room for Bigfoot in the world while peppering his narrative with timely social criticism about bad behavior on the human side of the conflict: The explosion of Rainier might have been better forecast had the president not slashed the budget of the U.S. Geological Survey, leading to “immediate suspension of the National Volcano Early Warning System,” and there’s always someone around looking to monetize the natural disaster and the sasquatch-y onslaught that follows. Brooks is a pro at building suspense even if it plays out in some rather spectacularly yucky episodes, one involving a short spear that takes its name from “the sucking sound of pulling it out of the dead man’s heart and lungs.” Grossness aside, it puts you right there on the scene.
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.Pub Date: June 16, 2020
ISBN: 978-1-9848-2678-7
Page Count: 304
Publisher: Del Rey/Ballantine
Review Posted Online: Feb. 9, 2020
Kirkus Reviews Issue: March 1, 2020
BOOK REVIEW
BOOK TO SCREEN
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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