Helen DeWitt's 2000 debut, The Last Samurai, was "destined to
become a cult classic" (Miramax). The enterprising publisher sold
the rights in twenty countries, so "Why not just, 'destined to
become a classic?'" (Garth Risk Hallberg) And why must cultists
tell the uninitiated it has nothing to do with Tom Cruise? Sibylla,
an American-at-Oxford turned loose on London, finds herself trapped
as a single mother after a misguided one-night stand. High-minded
principles of child-rearing work disastrously well. J. S. Mill
(taught Greek at three) and Yo Yo Ma (Bach at two) claimed the
methods would work with any child; when these succeed with the boy
Ludo, he causes havoc at school and is home again in a month. (Is
he a prodigy, a genius? Readers looking over Ludo's shoulder find
themselves easily reading Greek and more.) Lacking male role models
for a fatherless boy, Sibylla turns to endless replays of
Kurosawa's masterpiece Seven Samurai. But Ludo is obsessed with the
one thing he wants and doesn't know: his father's name. At eleven,
inspired by his own take on the classic film, he sets out on a
secret quest for the father he never knew. He'll be punched,
sliced, and threatened with retribution. He may not live to see
twelve. Or he may find a real samurai and save a mother who thinks
boredom a fate worse than death.
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