Me

The publisher states that Hoshino's novel centers on the It's me' telephone scam in which a caller often targets the elderly, seeking funds to cover a false emergency, but that ploy is more a brief narrative catalyst. What gets more page time is McDonald's, where Japanese electronics store employee Hitoshi Nagano's usual McDonald's lunch is interrupted when a cell phone mistakenly lands on his tray. He nonchalantly takes it home, calls the mother of the owner, Daiki Hiyama, and persuades her to wire ¥900,000 immediately. Three days later, Mother Hiyama arrives at his door, convinced Hitoshi is Daiki; when Hitoshi visits his own parents, a doppelgänger has already usurped his place. The (sur)reality is that Hitoshi is just one of many MEs: without clarity of who's truly whom, violent chaos ensues. Hoshino's latest-in-translation (rendered by De Wolf) begins as black comedy and devolves into an antisolipsistic treatise on the impossibility of individual identity. Despite a thought-provoking afterword by Nobel Prize winner Kenzaburo Oe (Hoshino won the 2011 Kenzaburo Oe Prize), this muddled ME ultimately disappoints.--Hong, Terry Copyright 2017 Booklist

Hoshino (The Mermaid Sings Wake Up) draws inspiration from the "It's me" telephone scams that prey mostly on Japan's elderly, opening with mischievous Hitoshi Nagano as he takes the cell phone of Daiki Hiyama and (posing as Daiki) asks the young man's mother for ¥900,000. Hitoshi explains that the wire is to pay a debt to a friend, and then gives her his actual name and bank account. Three days later, Daiki's mother appears in Hitoshi's home and, calling him Daiki, treats Hitoshi as if he is her son. From this point, the ordinary life of the characters transforms, as Hoshino leads readers on a psychological and philosophical journey in which the value of individualism is questioned and tested in escalating absurdist measures. When Hitoshi visits his old home, he finds another young man living as his parents' son and is treated as an imposter by his mother. The novel is most successful during Hoshino's riffs on parents obsessed with making sure their children achieve respectable vocations and marriages, value children more for their lack of individualism than for their unique talents and eventually losing sight of their adult children's identities. In Hoshino's dystopia, identities are fluid and any one is as good as another. The novel pushes this idea into a highly plotted, absurd world where normally shocking movements are rendered as reportage, depicted with the same emotional weight as casual conversations. Hoshino's ambitious novel is pleasingly uncomfortable. (June) © Copyright PWxyz, LLC. All rights reserved.