Forty-five years on, the Pushcart annual is as strong and wide-ranging as ever.
The venerable prize volume adds another year without getting crusty.
Nominations for the Pushcart Prize are open to small, independent literary presses—magazines and book publishers now online as well as print—anywhere in the world. That said, several journals are near constants, such as McSweeney’s, with a standout contribution in Luis Alberto Urrea’s short story “The Night Drinker.” It begins as a piece of near-future apocalypticism, with the world engulfed by rising seawater (“in that tide came garbage and dead creatures and black waves”), that takes a near-idyllic turn as Mexico City returns to its erstwhile, pre-Columbian role as one of the world’s great metropolises, and that then ends on a note of horror (with Urrea nodding at H.P. Lovecraft, “that old racist”). No less foreboding, though without the ghastly resolution, is Elizabeth McCracken’s “It’s Not You,” from Zoetrope: All-Story, in which a hotel-room assignation goes awry in a fog of alcohol and miscalculation: “It is the fear of judgment that keeps me behaving, most of the time, like the religious,” says her narrator. “Not of God, but of strangers.” One such stranger is the “radio shrink” who observes of the narrator’s day drinking, “Hair of the dog,” to which she replies, “Hair of the werewolf.” Jane Hirshfield, a familiar presence in Pushcart, turns in a lovely but pensive poem that comes from a culinary anthology but centers on the darkness of living on “an earth where loss // is so all present / that we drink it without thinking / blue-white in its early morning glass.” Yet another standout is a story by Austin Smith, better known as a poet, about an Amish man who works out his grief for the loss of two children by making a break for the world of the English (“He was weeping, but there was no beard to catch his tears”)—a Rumspringa from which he won’t return. Or will he?
Forty-five years on, the Pushcart annual is as strong and wide-ranging as ever.Pub Date: Dec. 7, 2020
ISBN: 978-0-9600977-0-8
Page Count: 600
Publisher: Pushcart
Review Posted Online: Aug. 18, 2020
Kirkus Reviews Issue: Sept. 1, 2020
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
