A more adorable plea for rationalism and gender equality would be hard to find.
Two chemists with major chemistry, a dog with a big vocabulary, and a popular cooking show are among the elements of this unusual compound.
At the dawn of the 1960s, Elizabeth Zott finds herself in an unexpected position. She's the star of a television program called Supper at Six that has taken American housewives by storm, but it's certainly not what the crass station head envisions: “ 'Meaningful?' Phil snapped. 'What are you? Amish? As for nutritious: no. You’re killing the show before it even gets started. Look, Walter, it’s easy. Tight dresses, suggestive movements...then there’s the cocktail she mixes at the end of every show.' ” Elizabeth is a chemist, recently forced to leave the lab where she was doing important research due to an out-of-wedlock pregnancy. Now she's reduced to explaining things like when to put the steak in the pan. "Be sure and wait until the butter foams. Foam indicates that the butter’s water content has boiled away. This is critical. Because now the steak can cook in lipids rather than absorb H2O.” If ever a woman was capable of running her own life, it's Elizabeth. But because it's the 1950s, then the '60s, men have their sweaty paws all over both her successes and failures. On the plus side, there's Calvin Evans, world-famous chemist, love of her life, and father of her child; also Walter Pine, her friend who works in television; and a journalist who at least tries to do the right thing. At the other pole is a writhing pile of sexists, liars, rapists, dopes, and arrogant assholes. This is the kind of book that has a long-buried secret at a corrupt orphanage with a mysterious benefactor as well as an extremely intelligent dog named Six-Thirty, recently retired from the military. ("Not only could he never seem to sniff out the bomb in time, but he also had to endure the praise heaped upon the smug German shepherds who always did.") Garmus' energetic debut also features an invigorating subplot about rowing.
A more adorable plea for rationalism and gender equality would be hard to find.Pub Date: April 5, 2022
ISBN: 978-0-385-54734-5
Page Count: 400
Publisher: Doubleday
Review Posted Online: Jan. 11, 2022
Kirkus Reviews Issue: Feb. 1, 2022
SEEN & HEARD
PERSPECTIVES
SEEN & HEARD
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
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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