Review by Publisher's Weekly Review
Oshetsky's wild and phantasmagorical debut takes a Dantean journey through the violent fever dreams of a woman in the trials of pregnancy and early motherhood. Tiny, an accomplished cellist, believes she has been impregnated by her "owl-lover" and that the baby inside her will most certainly be an "owl-baby." Her husband fails to understand this, and Tiny leads the reader into the lonely terror she feels as she considers abortion, followed by her overwhelming, hormone-driven desire to have and protect the child. When Chouette is born, she is indeed strange: winged, ferocious, and ugly. Tiny's husband, who insists on calling his daughter Charlotte, goes to great lengths to try to fix her, taking her to dicey doctors offering outlandish cures. But encouraged by Tiny, Chouette is allowed to become her true self. Tiny feeds Chouette frozen pinkie mice, and she hunts gophers in the backyard. When the husband finally tries to wrest Chouette away from Tiny, it becomes a mortal battle between good and evil. Tiny's day-to-day struggles with child-rearing, blood-soaked and feces-covered, on the one hand offer a familiar view of a young mother's delirious tedium, with the desperation and horror made vivid and strange by Oshetsky's parable. No reader who has cared for a tiny human being will fail to recognize the battleground this talented author has conjured. (Nov.)
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Review by Library Journal Review
DEBUT Early in Oshetsky's debut, narrator Tiny intones, "I prefer to speak in metaphor: That way no logic can trap me"--a sentiment that seems to apply to the author herself. The story of a mother who gives birth to an owl-baby and proceeds to ferociously fight for her child's individuality and happiness, this novel is rife with metaphorical suggestion but thankfully resists burying any kind of explicit thesis within its surreal narrative. Instead, Oshetsky lets the story take a freer, distinctly fabulist shape, using the language and imagery of a dark fairy tale but refusing easy analogy; think a minimalist riff on Helen Oyeyemi, married to the disquieting phantasmagoria of Samanta Schweblin's Fever Dream. Yes, it's a novel primarily about motherhood--the dizzying tedium, the terror and paranoia, the helplessness, the tension between retaining a tether to the wider world and committing oneself to another person--but Oshetsky is careful to take her story to surprising places, frequently brutal if strikingly beautiful. What really sings here, however, is Oshetsky's spare but elegant language, a linguistic nocturne for readers that gracefully matches the classical music always humming in Tiny's head, an articulation of ecstasy and pain, fear and hope. VERDICT Balancing parabolic storytelling with eloquent humanism isn't an easy undertaking, but Oshetsky's concise debut understood the task, and it soars.--Luke Gorham, Galesburg P.L., IL
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Review by Kirkus Book Review
A mother's unconditional love for her unusual child--an "owl-baby"--drastically changes her life and her world. "Each of us knows from experience that birthing any child is the start of a lifelong terrorization by the very child we love, and yet we mothers are able to bear it because we love our children more than we love our own lives, even as our children blithely seek to destroy us." Tiny draws this conclusion several months into her new life as the mother of Chouette, a baby she conceived not with her husband, who is "kind, strong, steady, normal, and a bit of a looker," but with her owl lover, who is "giant, musky, molting, monstrous, amoral, uncivilized and fickle." As it turns out, her husband is horrified by the baby--whom he insists on calling Charlotte--as is the medical establishment, including Doctor Canola, who pronounces terrible diagnoses, and Doctor Great, who offers deforming treatments. (Doctor Booze, however, doesn't see much of a problem.) Even before Chouette's birth, Tiny realizes she will have to give up her career as a cellist--though music still fills her head, and a playlist of all the pieces mentioned in the book is included in an appendix. She basically ends up renouncing human society altogether as she learns how to care for her unique child, involving a steady supply of mice and shrews, a nocturnal schedule, and a driving need to hunt, claw, and eviscerate. After her husband essentially abandons Tiny and Chouette--though he never abandons his frantic quest for a "cure"--Tiny's extreme loneliness is interrupted by a surprise visit from one of her sisters-in-law, and that is just one of many unexpected and sometimes frightening directions her life will now take. Oshetsky's writing is virtuosic, laced with dry humor, and perfectly matched to the parable she unfolds in this impressive debut. As Tiny puts it, "I prefer to speak in metaphor: That way no logic can trap me, and no rule can bind me, and no fact can limit me or decide for me what's possible." A fever dream of a novel that will enchant fans of contemporary fabulism. Copyright (c) Kirkus Reviews, used with permission.
Copyright (c) Kirkus Reviews, used with permission.
