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Editorial Reviews
From Publishers Weekly
The Patty Hearst kidnapping was one of the defining incidents of the 1970s, but almost 30 years later, it has faded into legend, despite the many words written on the subject. Choi (The Foreign Student) makes the first stab at fictionalizing the drama, giving it grainy psychological depth and texture, while cleaving close to the true course of events. Instead of focusing on Patty (here named Pauline, the daughter of a wealthy newspaper publisher), Choi turns her attention on Jenny Shimada, a young Japanese-American woman, who, fleeing the Feds after she and her boyfriend orchestrate the bombing of draft offices to protest the Vietnam War, agrees to help Pauline and her kidnappers. This protagonist is based on a real-life person, Wendy Yoshimura, who spent what's now called "the lost year" (1974, when Patty and her captors disappeared) with Patty and two of her kidnappers. In Choi's book, the four spend the time in a rented farmhouse in New York State, with Jenny running errands while Pauline and her "comrades" undergo physical training for their fight against "the pigs" and halfheartedly write a book. While the unfolding drama-Pauline's transformation, the bank robbery, Pauline and Jenny's cross-country trip-is enthralling, it is Choi's skill at getting inside the heads of her protagonists that gives the novel its particular, unsettling appeal. What makes Jenny a radical? And what then leads her to wonder whether "perhaps they had been wrong to fight Power on its terms, instead of rejecting its terms utterly"? Sounding the depths of her conflicted protagonists, Choi takes an uncompromising look at issues of race, class, war and peace.
Copyright 2003 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From The New Yorker
Set in 1974, Choi's second novel follows the outlines of the Patty Hearst kidnapping, taking as its heroine one of the minor players in the drama. Jenny Shimada, who once bombed government buildings, has been living underground for two years when the kidnapping occurs. From three thousand miles away in the Hudson Valley, she follows the story obsessively: the cadre's wild demands; the victim's apparent conversion to the cause; the police siege in which most of the group burns to death. What she doesn't suspect is that she will soon be chaperoning the surviving fugitives in a Catskills farmhouse as they attempt to write their memoirs, a money-making scheme cooked up by a former comrade. Jenny's charges prove to be far more than she can handle, and things go comically, horrifically awry. The novel takes a hard-eyed look at American idealism, and yet its imaginative abundance, its fascination with self-invention, and its portrayal of the landscape as a living, breathing presence provide a quintessentially American sense of possibility.
Copyright © 2005 The New Yorker --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
The Patty Hearst kidnapping was one of the defining incidents of the 1970s, but almost 30 years later, it has faded into legend, despite the many words written on the subject. Choi (The Foreign Student) makes the first stab at fictionalizing the drama, giving it grainy psychological depth and texture, while cleaving close to the true course of events. Instead of focusing on Patty (here named Pauline, the daughter of a wealthy newspaper publisher), Choi turns her attention on Jenny Shimada, a young Japanese-American woman, who, fleeing the Feds after she and her boyfriend orchestrate the bombing of draft offices to protest the Vietnam War, agrees to help Pauline and her kidnappers. This protagonist is based on a real-life person, Wendy Yoshimura, who spent what's now called "the lost year" (1974, when Patty and her captors disappeared) with Patty and two of her kidnappers. In Choi's book, the four spend the time in a rented farmhouse in New York State, with Jenny running errands while Pauline and her "comrades" undergo physical training for their fight against "the pigs" and halfheartedly write a book. While the unfolding drama-Pauline's transformation, the bank robbery, Pauline and Jenny's cross-country trip-is enthralling, it is Choi's skill at getting inside the heads of her protagonists that gives the novel its particular, unsettling appeal. What makes Jenny a radical? And what then leads her to wonder whether "perhaps they had been wrong to fight Power on its terms, instead of rejecting its terms utterly"? Sounding the depths of her conflicted protagonists, Choi takes an uncompromising look at issues of race, class, war and peace.
Copyright 2003 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From The New Yorker
Set in 1974, Choi's second novel follows the outlines of the Patty Hearst kidnapping, taking as its heroine one of the minor players in the drama. Jenny Shimada, who once bombed government buildings, has been living underground for two years when the kidnapping occurs. From three thousand miles away in the Hudson Valley, she follows the story obsessively: the cadre's wild demands; the victim's apparent conversion to the cause; the police siege in which most of the group burns to death. What she doesn't suspect is that she will soon be chaperoning the surviving fugitives in a Catskills farmhouse as they attempt to write their memoirs, a money-making scheme cooked up by a former comrade. Jenny's charges prove to be far more than she can handle, and things go comically, horrifically awry. The novel takes a hard-eyed look at American idealism, and yet its imaginative abundance, its fascination with self-invention, and its portrayal of the landscape as a living, breathing presence provide a quintessentially American sense of possibility.
Copyright © 2005 The New Yorker --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
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