For the uninitiated, a wonderful introduction to a Southern original.
Thirty hilarious stories, mostly set in small-town South Carolina, gathered from eight collections published over the last two decades.
As Tom Franklin notes in his introduction, Singleton's stories often proceed from simple, spectacular premises, the kind easily conveyed in a sentence. "Outlaw Head and Tail" features a bouncer—well, a "pre-bouncer"—who accidentally records an episode of Bonanaza over his wife's sonogram and then canvasses barflies in search of a substitute tape; in "Show-and-Tell," a divorced father pursues his high school girlfriend, now his son's third grade teacher, by proxy, sending his boy to school with great love letters of literature during show and tell, mementos like a dried-up wrist corsage and matching boutonniere, etc. "Probate" tells of a couple's misadventures with a heartbroken and gabby "traveling euthanasia vet"; the hero of "This Itches, Y'All" is a man shadowed all his life by his three words of dialogue in a hygiene filmstrip about head lice; "Staff Picks" tells a love story about a librarian and a professional bowler who meet while trying to win an RV by keeping a hand on it for as long as possible. These stories have absurdist energy, wit, and inventiveness to burn, but antic comedy is their mode and métier, not their sole aim or reason for being. Singleton's work doesn't wear literariness on its sleeve; even when he channels canonical writers, as in "John Cheever, Rest in Peace," he does so in a way that's literal and can seem almost anti-literary—making the grandly metaphorical, life-spanning "The Swimmer" into a story in which a man suffers a heart attack on his riding mower and then, dead, cuts a gently arcing swath across his town before crashing into a silo. But these stories are often sneakily ambitious, sneakily moving. Singleton has Charles Portis' gift for writing a satire both ruthless and lined always with affection, and like that Southern icon, he's a master of and evangelist for the joys and idiosyncrasies of speech, especially the loquacious talk of barrooms and Little League fields and scrapbooking shops.
For the uninitiated, a wonderful introduction to a Southern original.Pub Date: Sept. 15, 2020
ISBN: 978-1-938235-69-6
Page Count: 368
Publisher: Hub City Press
Review Posted Online: June 30, 2020
Kirkus Reviews Issue: July 15, 2020
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
"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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