Expertly told tales that offer glimpses into the lives of isolated characters.
Andreasen’s collection of short stories presents fantastical characters with relatable troubles.
The opening story “My Big Man” follows an unnamed, cave-dwelling character from adolescence through puberty and into motherhood, before a descent into chaos, establishing the author’s unique voice. Readers witness her trading her “big man” (her father) for her “man” (mate), and later grieving the loss of her childhood and her baby, who’s the indirect victim of an extended famine. In just a handful of pages, Andreasen sketches a relatable life, reeling readers in with familiarity and warmth, and then snapping them back into reality with a gentle reminder that the narrator would later be known as a “Neander-Thal”: “I can tell death even from a distance,” she thinks to herself while drawing readers close as witnesses to her end. Andreasen’s intimate storytelling carries through 17 more stories. In “The Puppet Show,” a bitter puppeteer tries to drown his regrets with alcohol, shutting himself away in his theater from the sobering post-communist setting that surrounds him. In his bubble, life is colorful and almost surreal, flirting with the whimsy one might expect from his occupation; however, he also single-mindedly works on his craft. Depictions of obsession are revealed to be Andreasen’s most powerful weapon; it’s the downfall of nearly every protagonist as their passion bleeds into preoccupation, usually at the cost of precious time—whether it’s in a story about a sculpture of a woman (“Mahogany”), rats (“The Return”), or the pressures of being “the only true cowboy in Upstate New York” in the final work, “Warner’s Caddy.” Even in the titular tale, a woman escapes the tension of traffic by watching a flock of black birds overhead, which effectively goes from being a welcome distraction—a quiet image of everyday magic—to a devastating, life-defining moment. Andreasen also ably brings attention to the dangers of daydreaming—another theme to which she often returns.
Expertly told tales that offer glimpses into the lives of isolated characters.Pub Date: Nov. 10, 2024
ISBN: 9798888387320
Page Count: 117
Publisher: Finishing Line Press
Review Posted Online: Oct. 30, 2024
Review Program: Kirkus Indie
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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