Though combat plays a big part, this is a subtle and nuanced work.
Krivak examines war’s effect on one family.
This book follows several generations of one family—as well as a few others in their orbit—from the aftermath of World War I into the early days of the 21st century. It’s the final book in a trilogy, following The Sojourn (2011) and The Signal Flame (2017), but it can be read alone. The narrative moves backward and forward in time, which seems fitting for a novel in which the past looms as large as it does here. It opens in the 1930s, with Jozef Vinich, protagonist of The Sojourn, living in Pennsylvania with his wife, Helen, and daughter, Hannah. A boy with ties to Jozef arrives on their farm, having been sent across the Atlantic for fear that he would be killed by fascists. This is Bexhet Konar, sometimes called Becks, who Krivak reveals will go on to marry Hannah, fight in World War II, and die in a hunting accident a few years later. Eventually, the narrative reveals Bexhet’s wartime activities, which also showcases Krivak’s penchant for evocative prose: “Becks saw men in the line of the column ahead of him wither, like they had fallen asleep in mid-stride.” It’s one of several scenes where Krivak evokes hardship through deftly worded passages. Earlier in the novel, a scene of the Depression’s effect on a Pennsylvania community emerges via a description of characters drinking “pine-needle tea and coffee made from chicory.” Eventually, the book’s focus shifts to Becks and Hannah’s sons, Bo and Sam. Sam’s time in a POW camp in Vietnam and his heroin addiction haunt him, and both brothers must come to terms with their father’s wartime legacy.
Though combat plays a big part, this is a subtle and nuanced work.Pub Date: May 9, 2023
ISBN: 9781954276130
Page Count: 288
Publisher: Bellevue Literary Press
Review Posted Online: March 13, 2023
Kirkus Reviews Issue: April 1, 2023
Uneven but fitfully amusing.
Betrayed by her husband, a severely depressed young woman gets drawn into the over-the-top festivities at a lavish wedding.
Phoebe Stone, who teaches English literature at a St. Louis college, is plotting her own demise. Her husband, Matt, has left her for another woman, and Phoebe is taking it hard. Indeed, she's determined just where and how she will end it all: at an oceanfront hotel in Newport, where she will lie on a king-sized canopy bed and take a bottle of her cat’s painkillers. At the hotel, Phoebe meets bride-to-be Lila, a headstrong rich girl presiding over her own extravagant six-day wedding celebration. Lila thought she had booked every room in the hotel, and learning of Phoebe's suicidal intentions, she forbids this stray guest from disrupting the nuptials: “No. You definitely can’t kill yourself. This is my wedding week.” After the punchy opening, a grim flashback to the meltdown of Phoebe's marriage temporarily darkens the mood, but things pick up when spoiled Lila interrupts Phoebe's preparations and sweeps her up in the wedding juggernaut. The slide from earnest drama to broad farce is somewhat jarring, but from this point on, Espach crafts an enjoyable—if overstuffed—comedy of manners. When the original maid of honor drops out, Phoebe is persuaded, against her better judgment, to take her place. There’s some fun to be had here: The wedding party—including groom-to-be Gary, a widower, and his 11-year-old daughter—takes surfing lessons; the women in the group have a session with a Sex Woman. But it all goes on too long, and the humor can seem forced, reaching a low point when someone has sex with the vintage wedding car (you don’t want to know the details). Later, when two characters have a meet-cute in a hot tub, readers will guess exactly how the marriage plot resolves.
Uneven but fitfully amusing.Pub Date: July 30, 2024
ISBN: 9781250899576
Page Count: 384
Publisher: Henry Holt
Review Posted Online: Sept. 13, 2024
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.
A falsely accused Black man goes into hiding in this masterful novella by Wright (1908-1960), finally published in full.
Written in 1941 and '42, between Wright’s classics Native Son and Black Boy, this short novel concerns Fred Daniels, a modest laborer who’s arrested by police officers and bullied into signing a false confession that he killed the residents of a house near where he was working. In a brief unsupervised moment, he escapes through a manhole and goes into hiding in a sewer. A series of allegorical, surrealistic set pieces ensues as Fred explores the nether reaches of a church, a real estate firm, and a jewelry store. Each stop is an opportunity for Wright to explore themes of hope, greed, and exploitation; the real estate firm, Wright notes, “collected hundreds of thousands of dollars in rent from poor colored folks.” But Fred’s deepening existential crisis and growing distance from society keep the scenes from feeling like potted commentaries. As he wallpapers his underground warren with cash, mocking and invalidating the currency, he registers a surrealistic but engrossing protest against divisive social norms. The novel, rejected by Wright’s publisher, has only appeared as a substantially truncated short story until now, without the opening setup and with a different ending. Wright's take on racial injustice seems to have unsettled his publisher: A note reveals that an editor found reading about Fred’s treatment by the police “unbearable.” That may explain why Wright, in an essay included here, says its focus on race is “rather muted,” emphasizing broader existential themes. Regardless, as an afterword by Wright’s grandson Malcolm attests, the story now serves as an allegory both of Wright (he moved to France, an “exile beyond the reach of Jim Crow and American bigotry”) and American life. Today, it resonates deeply as a story about race and the struggle to envision a different, better world.
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.Pub Date: April 20, 2021
ISBN: 978-1-59853-676-8
Page Count: 240
Publisher: Library of America
Review Posted Online: March 16, 2021
Kirkus Reviews Issue: April 1, 2021
BOOK TO SCREEN
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