Nami Mun Miles from Nowhere
Cynthia Kadohata Kira Kira
Sarah Rees Brennan The Demon's Lexicon
I don't really know what to say about Miles from Nowhere. Or more accurately, I don't know how to approach writing about this book. Just thought it was very good, without it being a book that I would want to read, necessarily. Mun's prose is great: not quite transparent, but well able to fall to the background when it's time for us to see what's going on inside the page rather than on it. And when she does step forward and use prosey-prose, it's to pick out a vivid moment or image -- usually image -- either because it lights up the scene, or because she's found a particularly great way to do it. The images or moments aren't always -- or usually -- important in themselves or even symbolic. But they all do connect to the viewpoint character, either physically or through her noticing them, at key moments. The effect is of a generally grey or monochromatic landscape, well rendered, with occasional bright objects, rendered photorealistically, in full color.
I still don't like linked stories, but this one worked because she allowed herself to skip over the connecting tissue. No boring or dead spots in the narrative. Of course, you couldn't always tell if the stories were in chronological order, so you couldn't tell where or when they were happening. But that didn't distract much.
Kadohata's Kira Kira was very well done all around. A good portrait of immigrant parents and their American born kids in the 50s. A tear-jerker, too. But the ending was weak and mushy, just like the ending to Outside Beauty. I think Kadohata needs to work on her endings.
Loved The Demon's Lexicon! Very well done character study of what seems like someone teetering on the brink of sociopathy. Here's the thing: first person and close third (I've said before that these are virtually indistinguishable, right?) are wasted if the viewpoint character takes what is essentially the author's view. That is to say, when you're seeing things through a character's eyes, you should be seeing things through that character's opinions, too -- with that character's passions, desires, limitations, and blindspots. Which one of the reasons I'm usually so frustrated with contemporary "literary" fiction: it's dominated by 1st person and close 3rd, but doesn't limit the narrative to only what that character would be able to see and to understand. Which is why these characters end up feeling so flat.
In Demon's Lexicon the close 3rd narration follows just the "sociopathic" protagonist, Nick. It might be called an "unreliable narrator," since he's something of a naive viewpoint. But I don't really believe in "unreliable" narrators. All people are unreliable narrators by virtue of their limited perspectives. If you're doing 1st or subjective 3rd properly, then your narrator is necessarily unreliable.
Anyhoo, great book.