De la Cerda sums it up best: “Being a woman means living in a state of emergency.”
Thirteen “reservoir bitches” tell readers: Sit, stay, escúchame.
Mexican author de la Cerda’s English-language debut, a story collection translated from Spanish by Sanches and Cleary, presents a group of Mexican women facing down danger and tragedy at every turn. The “bitches” are women from different economic backgrounds—drug empire heiress Yuliana struts the streets in Louboutins, and teen mom Stefi works 12-hour shifts at a shoe store—as well as racial backgrounds—blond-haired and blue-eyed Constanza masquerades as a mestiza to aid her husband’s political campaign, and an unnamed narrator seeks revenge on her murderers after being resurrected by a figure from Mexican legend. De la Cerda’s narrators have lived very different, equally important lives, but their voices tend to blend into one another. Most have a similar sense of humor and code of ethics, and many make use of an irreverent tone, colloquial language, and nicknames for the reader, such as “fam,” “queen,” and “amigui” (each of these words appears in its own story—perhaps this is an attempt to distinguish their narrators). These tactics succeed in creating the enchanting feeling that one is sitting across from each narrator, being told their stories as a close confidante. This feeling remains even when we know the narrator is dead—which does not happen just once, but four times. The most prominent theme is the epidemic of femicide, specifically in Mexico. In one of her most powerful moments, de la Cerda writes, “Mexico is a monster that devours women. Mexico is a desert of pulverized bone. Mexico is a graveyard full of pink crosses.” The author’s demand that we bear witness to the senseless murders, in all their gruesomeness, of these bright young women is sobering and commendable. However, the sheer magnitude of loss and injustice displayed here means that the vengeance secured against the perpetrators, which is posed as badass feminist action, feels limp.
De la Cerda sums it up best: “Being a woman means living in a state of emergency.”Pub Date: Sept. 10, 2024
ISBN: 9781558613119
Page Count: 160
Publisher: Feminist Press
Review Posted Online: July 4, 2024
Kirkus Reviews Issue: Aug. 1, 2024
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
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
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