All the author’s formal risks result in well-earned rewards.
The slow-burn story of Tarek, a Levantine Christian doctor whose life seems prescribed for him in every matter, even love.
As the book opens during Tarek’s boyhood in 1960s Cairo, an omniscient speaker says: “You were of an age to have no life plans beyond what others devised for you. Was it really just a matter of age, though?” The use of “you” throughout the first section creates a distinct separation between Tarek and the speaker, but there’s still a sense of intimacy. The speaker seems to know and deeply feel everything they write about Tarek’s life. Questions of who this speaker is, and whether it could be Tarek himself, hover over a good portion of the novel. Point of view plays an essential role in how the story unfolds over the course of three sections, titled “You,” “Me,” and “Us.” Tarek follows the path expected of him. He becomes a successful doctor with a practice in Dokki and a clinic in Mokattam, and he gets married. “In the Armenian tradition, it fell to your wife’s mother to welcome you into your new home. She offered you a spoonful of honey with nuts, to wish you a sweet life. The spell lasted barely a year.” Tarek’s daily routine is shaken when he meets Ali, who arrives at the clinic seeking help for his mother. The initial medical appointment turns into many visits Tarek pays to Ali and his mother, which now include dinner and conversation. Ali’s mother, whose health has deteriorated, asks Tarek to let Ali work at the clinic. He agrees, and the bond between Ali and Tarek becomes even stronger. Then everything changes for Tarek in a moment: “You were like a child who seizes a momentary lapse in their parent’s attention to open a box of matches. The child doesn’t know when exactly it will happen, or what kind of fire they will spark. But they understand the possibility, however remote.” As they so often do, the speaker adeptly locates a metaphor for the situation and the feelings that result. Chacour’s exceptional restraint in divulging information lets the tension build, carrying the book into the revelation of who is writing Tarek’s story.
All the author’s formal risks result in well-earned rewards.Pub Date: Sept. 24, 2024
ISBN: 9781552454855
Page Count: 232
Publisher: Coach House Books
Review Posted Online: Aug. 3, 2024
Kirkus Reviews Issue: Sept. 1, 2024
"Don't go into the woods" takes on unsettling new meaning in Moore's blend of domestic drama and crime novel.
Many years after her older brother, Bear, went missing, Barbara Van Laar vanishes from the same sleepaway camp he did, leading to dark, bitter truths about her wealthy family.
One morning in 1975 at Camp Emerson—an Adirondacks summer camp owned by her family—it's discovered that 13-year-old Barbara isn't in her bed. A problem case whose unhappily married parents disdain her goth appearance and "stormy" temperament, Barbara is secretly known by one bunkmate to have slipped out every night after bedtime. But no one has a clue where's she permanently disappeared to, firing speculation that she was taken by a local serial killer known as Slitter. As Jacob Sluiter, he was convicted of 11 murders in the 1960s and recently broke out of prison. He's the one, people say, who should have been prosecuted for Bear's abduction, not a gardener who was framed. Leave it to the young and unproven assistant investigator, Judy Luptack, to press forward in uncovering the truth, unswayed by her bullying father and male colleagues who question whether women are "cut out for this work." An unsavory group portrait of the Van Laars emerges in which the children's father cruelly abuses their submissive mother, who is so traumatized by the loss of Bear—and the possible role she played in it—that she has no love left for her daughter. Picking up on the themes of families in search of themselves she explored in Long Bright River (2020), Moore draws sympathy to characters who have been subjected to spousal, parental, psychological, and physical abuse. As rich in background detail and secondary mysteries as it is, this ever-expansive, intricate, emotionally engaging novel never seems overplotted. Every piece falls skillfully into place and every character, major and minor, leaves an imprint.
"Don't go into the woods" takes on unsettling new meaning in Moore's blend of domestic drama and crime novel.Pub Date: July 2, 2024
ISBN: 9780593418918
Page Count: 496
Publisher: Riverhead
Review Posted Online: April 13, 2024
Kirkus Reviews Issue: May 15, 2024
PERSPECTIVES
SEEN & HEARD
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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