An eccentric satire that stands in contrast to Mishima’s more formal works and that makes for quick and entertaining reading.
Offbeat, sardonic yarn about self-commodification and its discontents.
Mishima is best known for brooding, elegant novels such as The Sailor Who Fell From Grace With the Sea (1963) and the stories collected in books like Death in Midsummer (1953) as well as his spectacular suicide by seppuku after leading a failed coup attempt in 1970. This slender novel, published two years before his death, sounds his disdain for the capitalism that had replaced traditional Japanese values. Hanio, a young man, awakens in a white room where a nurse and paramedic await him. “It dawned on Hanio that his attempt at suicide had failed,” writes Mishima, matter-of-factly. Since clearly Hanio can’t pull it off by himself, he takes out an ad reading, “Life for Sale. Use me as you wish.” The first response is from an old man who tells him his young wife is sleeping with a gangster, and Hanio dutifully marches off to seduce her with an eye to getting himself and the young woman gunned down by her affronted lover. It doesn’t quite work out. Nor does Hanio succumb to the ministrations of a comely young widow whose son hires him to be her boyfriend. There’s just one hitch: She’s a “very unusual sort of person,” as the kid says, in fact a vampire. And so on. Things are never as simple as they seem, and all of his contacts are connected in a strange conspiracy that hinges on the Asia Confidential Service, a spy network that may or may not exist. The one person who seems to get it is a disaffected young woman who’s fond of LSD and literature and who tells him, “I know what your problem is. You’re tired of trying to die.” She’s right, but now that others are out to do him in, Hanio no longer has to go to the trouble of finding a way to do it—a nice if bleak twist.
An eccentric satire that stands in contrast to Mishima’s more formal works and that makes for quick and entertaining reading.Pub Date: April 21, 2020
ISBN: 978-0-525-56514-7
Page Count: 192
Publisher: Vintage
Review Posted Online: Feb. 8, 2020
Kirkus Reviews Issue: March 1, 2020
BOOK REVIEW
A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.
Pub Date: July 11, 1960
ISBN: 0060935464
Page Count: 323
Publisher: Lippincott
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: July 1, 1960
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
The phrase “tour de force” could have been invented for this audacious novel.
Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives.
Yanagihara (The People in the Trees, 2013) takes the still-bold leap of writing about characters who don’t share her background; in addition to being male, JB is African-American, Malcolm has a black father and white mother, Willem is white, and “Jude’s race was undetermined”—deserted at birth, he was raised in a monastery and had an unspeakably traumatic childhood that’s revealed slowly over the course of the book. Two of them are gay, one straight and one bisexual. There isn’t a single significant female character, and for a long novel, there isn’t much plot. There aren’t even many markers of what’s happening in the outside world; Jude moves to a loft in SoHo as a young man, but we don’t see the neighborhood change from gritty artists’ enclave to glitzy tourist destination. What we get instead is an intensely interior look at the friends’ psyches and relationships, and it’s utterly enthralling. The four men think about work and creativity and success and failure; they cook for each other, compete with each other and jostle for each other’s affection. JB bases his entire artistic career on painting portraits of his friends, while Malcolm takes care of them by designing their apartments and houses. When Jude, as an adult, is adopted by his favorite Harvard law professor, his friends join him for Thanksgiving in Cambridge every year. And when Willem becomes a movie star, they all bask in his glow. Eventually, the tone darkens and the story narrows to focus on Jude as the pain of his past cuts deep into his carefully constructed life.
The phrase “tour de force” could have been invented for this audacious novel.Pub Date: March 10, 2015
ISBN: 978-0-385-53925-8
Page Count: 720
Publisher: Doubleday
Review Posted Online: Dec. 21, 2014
Kirkus Reviews Issue: Jan. 1, 2015
BOOK REVIEW
BOOK REVIEW
PROFILES
PERSPECTIVES
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