This is a book that lives up to its name. Beauty and deformity drip from every page in this transgressive thriller. It put me in mind of Flannery O’Connor, not in the aspect of prose but in the weight of oppression and despair.
There is no escape hatch for either the reader or the characters. The female leads — Yuriko, the monstrous beauty; Kazue, whose determination is greater than her social awareness; and the unnamed narrator, who is Yuriko’s older sister and self-described shadow to her sister’s light — are born into a system built for them to fail. Any path they tread is treacherous.
For Yuriko and Kazue, that path is sex work, though they arrive by different means and with different motivations. Their ends, however, are similar. They are both murdered by a client.
For the narrator, the path is a “sea of hatred” — she develops an armor of malicious wit, bitterness and resignation. She comes to relish the confused reactions people have upon learning that she and Yuriko are sisters.
Grotesque is epic in scope and haunting in execution. As with O’Connor, the writing sticks to the bone and the moral philosophy weighs on the mind long after. I can’t rave enough about this book. This is the second book of Kirino’s I’ve read — the other being the amazing Out — and I look forward to reading more.
As much as I loved Out, I think I love Grotesque more. Recency bias? Maybe, but the books deviate so much from each other in style and perspective that I don’t think that’s it. Out is a page-turner, whereas Grotesque is more like a Russian novel.
The former you can’t put down. The latter crawls under your skin, just the way I like it.