The book draws on themes topical and perennial--the hothousing of children, the familiar literary trope of the quest for the (absent) father--and as such, the book divides itself into two halves: the first describes the education of Ludo, the second follows Ludo in his search for his father and father figures. The first stresses a sacred, Apollonian pursuit of logic, precise (if wayward) erudition and the erratic and endlessly fascinating architecture of languages, while the second moves this knowledge into the preterite world of emotion, human ambitions and their attendant frustrations and failures.
This is a book about the pleasure of ideas, of the rich varieties of human thought, the possibilities that life offers us and, ultimately, about the balance between the structures we make of the world and the irredeemable chaos that the world proffers in return. Stylistically, the novel mirrors this ambivalence: DeWitt's remarkable prose follows the shifts and breaks of human consciousness and memory, and captures the intrusions of unspoken thought that punctuate conversation, while providing tantalising disquisitions on, for example, Japanese grammar or the physics of aerodynamics. The Last Samurai is a remarkable, profound and often very funny book. "Arigato DeWitt-sensei"--and after reading this, you'll want to look it up too. --Burhan Tufail
De Witt has intelligence, wit and unusual stylistic bravery (Guardian 20020614)
Fresh electrifying talent (New York Times 20020614)