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Tupelo is the site of Thanatopsis, an artists' colony similar to the McDowell Colony, and Ruth Dershowitz, a writer in residence there, refuses to believe the stories circulated by the ship and by INS that Hiro is a dangerous criminal and potential murderer. When she discovers him, she begins feeding him and protecting him against the yahoos who are trying to apprehend him.
Boyle uses this absurd scenario to create farce-like humor, satirizing the characters' inherent prejudices and their unrealistic goals and expectations. Hiro must protect himself against INS, a trigger-happy lunatic assisting INS, a posse of rednecks engaged in the chase, and even some of the residents of Thantopsis, the name of which is a black-humored reference to the Greek word for "death." Ruth, who is having an affair with the wealthy son of the founder of Thanatopsis, sees Hiro as the possible subject for a story, and she is outraged when a movie star-like writer, who once studied with her, arrives to steal Ruth's thunder by flirting with the men, giving a reading that the residents love, and sneering at Ruth.
Boyle's dark humor is delicious, and his pointed satire of the writers' colony, in particular, is priceless--the egos, the homage expected by established writers, the ceremony of the readings, the ritual of "silent table" vs. the "convivial table" at breakfast, the esoteric nature of some of the research subjects, and even the goofing off by the "artists." Hiro's only exposure to American society--the residents of Thanatopsis, the wealthy benefactors who have built compounds on the island, the impoverished rednecks and blacks who live off the land, and the INS and police officers who chase and arrest him--is obviously skewed, and his miscommunications and misunderstandings, even with Ruth, are both poignant and hilarious.
Filled with unexpected plot twists, brilliant and unique imagery, and ironies which evolve from the conflict between romantic dreams and sometimes harsh reality, the novel looks sharply at the characters' lives and inherent values and offers a sardonic wink. Mary Whipple
Boyle takes a special glee in the debunking of romantic myths, institutions and characters. In THE ROAD TO WELLVILLE it's the Kellog cereal empire. In WATER MUSIC it's the British exploration of Africa. Still, his attitude towards his fellow man seems a bit warmer in THE ROAD TO WELLVILLE (though not in WATER MUSIC). Both of these are great novels as well.
At it's heart, this story proposes the anti-American dream as reality. A young man, Hiro Tanaka, jumps ship off a Japanese steamer and swims ashore on an island off the coast of Georgia. Instead of discovering a land where people reach out to embrace him, he discovers a land where he is a wanted fugitive and the only people who reach out to help are really trying to help themselves. As a "half-breed" born of a Japanese mother and an American father, Hiro had always seen America as the City of Brotherly Love where no one would care what kind of blood he had flowing through his veins. But in very little time he learns that America can be as vicious and unwelcoming as its inhabitants, and that the American Dream is nothing short of a sham.
At times, Boyle is so wrapped up in setting off literary fireworks that he seems to get sidetracked from his plot; however, the fireworks can be amazing at times, so it's hard to hold this against him. His characterizations are wonderful, and the story hardly ever loses its pace. I wouldn't call this the greatest contemporary American novel I've come across, but it's a damn good one.
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