Glorious prose creates a grand, sometimes over-the-top sweep of facts, fantasy, and intriguing characters.
A mysterious tapestry brings the past to life for generations of women in one Hindu family.
The tapestry’s current guardian is Ayukta, a sculptor in Brooklyn. Although her ancestral memories go back further, she begins her story about 80 years ago with her grandmother Amla’s recollections of a happy childhood in Karachi, where Hindus and Muslims lived harmoniously together. But in 1947, when Amla was 10, Partition arrived. Amla’s mother died by political violence; Amla and her father escaped to Hindu Gujarat. Amla had the tapestry but, as a motherless girl, had to teach herself how to use it. She learned to experience her maternal ancestors’ lives. But her other new power—drawing events before they happened—was harder to understand, and one drawing caused her terrible grief. Years later, she gave the tapestry to her cautious, obedient older daughter, assuming Vibha would avoid her mistake. But after Vibha ensured the happy future of her book-smart, bold younger sister Arni in a drawing, Vibha made a fatal error. Mourning Vibha’s death, Amla feared Arni was too impulsive to trust with the tapestry, but Arni proved herself worthy, if more independent. She moved to America and became Ayukta’s mother. The intricacies of motherhood and daughterhood are thoroughly examined here. Ayukta has revealed the tapestry’s existence to her wife, Nadya, to explain her ambivalence about motherhood, and their conversations concerning the tapestry’s potential impact on any child they might raise together frequently interrupt Ayukta’s storytelling. Love between queer women takes shape as another theme through Ayukta and Nadya’s relationship, and also as Ayukta begins to realize the abiding love Amla shared with her rediscovered childhood friend Fiza—a “love [that] collapses time,” Ayukta says a bit oversentimentally. There is nothing sentimental, though, in Thanki’s views on the unintended consequences of Partition and the rise of nationalism.
Glorious prose creates a grand, sometimes over-the-top sweep of facts, fantasy, and intriguing characters.Pub Date: July 9, 2024
ISBN: 9780593654644
Page Count: 368
Publisher: Viking
Review Posted Online: May 31, 2024
Kirkus Reviews Issue: July 1, 2024
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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