Kureishi is smart about book culture and relationships in a novel that fails to satisfyingly merge both.

THE LAST WORD

A man opts to live with the famous—and famously prickly—author he’s writing a biography about. Whoops.

Kureishi’s seventh novel (Something To Tell You, 2008, etc.) is focused on Harry, a rising young British author who’s been all but strong-armed by his agent to write a biography of Mamoon, an Anglo-Indian writer whose intellectual rages are nearly as famous as tales of his noxious relationships with women. (There’s a furious former mistress and rumors he drove his first wife to an early grave.) The agent has put Harry in an impossible spot, demanding that the book deliver sordid details about Mamoon while giving his second wife, Liana, the right to take a pass at the manuscript. Gamely embedding himself in the writer’s manse in the countryside outside London, Harry is soon tangled in complications: Mamoon isn’t interested in interviews, Liana is steering him away from talking with the ex-mistress, and Harry pursues a fling with one of Mamoon’s housecleaners (never mind he has a girlfriend). Much of the talk in this novel circles around fidelity: “[A]dultery—pleasure plus betrayal—is the only fun left to us,” Mamoon intones. Harry drifts toward his subject’s way of thinking, which Kureishi milks for both humor and pathos. But Kureishi’s interest in the moral messes of our private lives leads to a novel that never quite settles into a groove. Is it a literary satire, as the agent’s Mephistophelean antics suggest? An upstairs-downstairs tale, focused as it is on tensions between the wealthy owners and the help? Or is it an infidelity tale, marked by Harry’s sexual abandon and ultimate reckoning? A bit of all three, though not quite enough of any one. Kureishi aims to smash preconceptions about literary greatness but only lands glancing blows.

Kureishi is smart about book culture and relationships in a novel that fails to satisfyingly merge both.

Pub Date: March 10, 2015

ISBN: 978-1-4767-7920-1

Page Count: 304

Publisher: Scribner

Review Posted Online: Dec. 22, 2014

Kirkus Reviews Issue: Jan. 1, 2015

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Despite some distractions, there’s an irresistible charm to Owens’ first foray into nature-infused romantic fiction.

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WHERE THE CRAWDADS SING

A wild child’s isolated, dirt-poor upbringing in a Southern coastal wilderness fails to shield her from heartbreak or an accusation of murder.

“The Marsh Girl,” “swamp trash”—Catherine “Kya” Clark is a figure of mystery and prejudice in the remote North Carolina coastal community of Barkley Cove in the 1950s and '60s. Abandoned by a mother no longer able to endure her drunken husband’s beatings and then by her four siblings, Kya grows up in the careless, sometimes-savage company of her father, who eventually disappears, too. Alone, virtually or actually, from age 6, Kya learns both to be self-sufficient and to find solace and company in her fertile natural surroundings. Owens (Secrets of the Savanna, 2006, etc.), the accomplished co-author of several nonfiction books on wildlife, is at her best reflecting Kya’s fascination with the birds, insects, dappled light, and shifting tides of the marshes. The girl’s collections of shells and feathers, her communion with the gulls, her exploration of the wetlands are evoked in lyrical phrasing which only occasionally tips into excess. But as the child turns teenager and is befriended by local boy Tate Walker, who teaches her to read, the novel settles into a less magical, more predictable pattern. Interspersed with Kya’s coming-of-age is the 1969 murder investigation arising from the discovery of a man’s body in the marsh. The victim is Chase Andrews, “star quarterback and town hot shot,” who was once Kya’s lover. In the eyes of a pair of semicomic local police officers, Kya will eventually become the chief suspect and must stand trial. By now the novel’s weaknesses have become apparent: the monochromatic characterization (good boy Tate, bad boy Chase) and implausibilities (Kya evolves into a polymath—a published writer, artist, and poet), yet the closing twist is perhaps its most memorable oddity.

Despite some distractions, there’s an irresistible charm to Owens’ first foray into nature-infused romantic fiction.

Pub Date: Aug. 14, 2018

ISBN: 978-0-7352-1909-0

Page Count: 384

Publisher: Putnam

Review Posted Online: May 15, 2018

Kirkus Reviews Issue: June 1, 2018

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A magnificent achievement: a novel that is, by turns, both optimistic and fatalistic, idealistic without being naïve.

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THE OVERSTORY

Powers’ (Orfeo, 2014, etc.) 12th novel is a masterpiece of operatic proportions, involving nine central characters and more than half a century of American life.

In this work, Powers takes on the subject of nature, or our relationship to nature, as filtered through the lens of environmental activism, although at its heart the book is after more existential concerns. As is the case with much of Powers’ fiction, it takes shape slowly—first in a pastiche of narratives establishing the characters (a psychologist, an undergraduate who died briefly but was revived, a paraplegic computer game designer, a homeless vet), and then in the kaleidoscopic ways these individuals come together and break apart. “We all travel the Milky Way together, trees and men,” Powers writes, quoting the naturalist John Muir. “In every walk with nature one receives far more than he seeks.” The idea is important because what Powers means to explore is a sense of how we become who we are, individually and collectively, and our responsibility to the planet and to ourselves. Nick, for instance, continues a project begun by his grandfather to take repeated photographs of a single chestnut tree, “one a month for seventy-six years.” Pat, a visionary botanist, discovers how trees communicate with one another only to be discredited and then, a generation later, reaffirmed. What links the characters is survival—the survival of both trees and human beings. The bulk of the action unfolds during the timber wars of the late 1990s, as the characters coalesce on the Pacific coast to save old-growth sequoia from logging concerns. For Powers, however, political or environmental activism becomes a filter through which to consider the connectedness of all things—not only the human lives he portrays in often painfully intricate dimensions, but also the biosphere, both virtual and natural. “The world starts here,” Powers insists. “This is the merest beginning. Life can do anything. You have no idea.”

A magnificent achievement: a novel that is, by turns, both optimistic and fatalistic, idealistic without being naïve.

Pub Date: April 3, 2018

ISBN: 978-0-393-63552-2

Page Count: 512

Publisher: Norton

Review Posted Online: Jan. 23, 2018

Kirkus Reviews Issue: Feb. 1, 2018

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