A heart-wrenching and poetic look at a profession that deserves more literary attention.
A London pediatric nurse struggles not to let her job consume her.
Laura is trying to make it through a week of night shifts at the hospital children’s ward. She has time off coming up, if she can just fight her way through the exhaustion to get there. But as the novel begins, Laura’s world is falling apart. The man she lives with—addressed throughout in the second person—has become standoffish and irritable; the fact that they work opposite shifts doesn’t help the drift between them. At work, a baby’s health worsens rapidly, and Laura has to navigate the minefield of patients, their families, the doctors and other nurses she works with, and a cluelessly cheerful med student. She is beset by poor sleep and haunted by nightmares. Worst of all, she is seeing things: a woman in black like the specter of death itself, appearing in the Tube, the hospital, and in Laura’s dreams. As things continue to deteriorate, Laura is less and less sure that her nightmare, waking or otherwise, will ever end. Readers familiar with Glass’ debut novel, Peach (2018), will recognize her inimitable style here: elliptical and lyric with an intense interiority. Glass wants readers inside Laura’s body, tasting seawater in her nightmares of drowning, feeling her limb-heaviness as she falls asleep at a friend’s kitchen table. Such richness makes all of Glass’ writing stand out, but this glimpse into the world of nursing feels like a true literary rarity. Glass, a nurse herself, takes both standard nursing tropes and revelations about the work and brings them all to shimmering life. “We are cotton buds sucking up the sadness of others,” Laura says of nurses, “we are saturated, we are saviors.”
A heart-wrenching and poetic look at a profession that deserves more literary attention.Pub Date: Dec. 1, 2020
ISBN: 978-1-52660-107-0
Page Count: 160
Publisher: Bloomsbury
Review Posted Online: Aug. 3, 2020
Kirkus Reviews Issue: Aug. 15, 2020
BOOK REVIEW
PERSPECTIVES
PROFILES
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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