by Laurie Colwin ‧ RELEASE DATE: March 31, 1986
Crystalline (and enjoyable for it) but ultimately inexpressive work by one of the most intriguing American fiction...
Francis Clemens—Frank—is having an affair with Josephine Felielle—Billy. Both of them are married to other people.
They're both involved with economics professionally, they live in New York, they are attached to their spouses by both conviction and honor, and these spouses are often away. So much for similarities. Otherwise, Frank is a sensualist about clothes and food, Billy a slob whose shoes are taped together and who has nothing in her refrigerator. She's laconic and unsentimental; he's the more unbuttoned of the two. They are, in fact, a sort of Odd Couple—wherein is found a good deal of the charm in these five connected if not quite connecting stories by the ever-interesting Colwin (Happy All The Time, Family Happiness). Until Billy calls a conscience-driven halt to the liaison, they both are happy ("as happy as it is possible to be under those circumstances, which bring the kind of happiness that is devoid of any contentment"). Yet, as Colwin's shading warns early on (and readers may notice that Frank is always the narrator of the morally dubious stories, Billy of the post-sin ones: a sort of stacking of the deck): "It is one of the sobering realizations of adult life that love is often not a propellant...It often seems that the function of romance is to give people something romantic to think about." The stories mean to be anti-romantic, in fact; there's far more snacking that goes on than lovemaking; and at one point, Billy's reactions to her own adultery are balanced-out at "sorrow, guilt, glee, humor, anticipation." The problem is that you don't believe an awful lot of it. Francis comes off as too unconscious, almost brutally level, plumb-lined; while Billy seems to be less a lover than a treader of water, going through the motions of infatuation until she can make for the open sea and have the secure-marriage-with-baby that she's destined for (and does get, post-Frank). Partially this is the overlap's fault—the segments don't seem quite well-aligned enough—but there's also a touch of smugness here that seeps out at the edges of cool delight to Colwin's always truly impressive comic-prose style. Frank seems a strawman set up to then be knocked down; and both Frank and Billy seem to be going through what's finally only a self-restricting acrobatic trick, one of some difficulty but without the sweat. Family Happiness showed Colwin able to approach a Russian-like miscellany of a-directional feeling—and while no one would expect her to duplicate Anna Karenina, it is somewhat surprising to find so little dirt under her authorial nails when dealing with a subject this compromised and unstable.
Crystalline (and enjoyable for it) but ultimately inexpressive work by one of the most intriguing American fiction writers—here coasting.Pub Date: March 31, 1986
ISBN: 0-06-095894-4
Page Count: -
Publisher: Knopf
Review Posted Online: April 30, 2021
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by Liz Moore ‧ RELEASE DATE: July 2, 2024
"Don't go into the woods" takes on unsettling new meaning in Moore's blend of domestic drama and crime novel.
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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
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SEEN & HEARD
by Richard Wright ‧ RELEASE DATE: April 20, 2021
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.
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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
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