This novel awes on the sentence level but ultimately bludgeons the reader with the brutality of its larger vision.
A grim meditation on the purpose of survival.
In the opening scene of Williams’ debut novel, youngest child Agathe watches as her father, who is also her uncle, wheels her older sister—the languageless, legless Dolores—into the forest, where he will leave her as a fertility offering to a perhaps apocryphal group their mother believes lives on the other side of ruined Prague. Agathe thinks that Dolores has been chosen for this abandonment due to “the blunt promise of her anatomy: the slack mouth and the round pig eyes; the antiquated languor of her fat white hands.” The cruelty of these perceptions herald the tone used throughout toward the book’s characters, who scrabble to survive in the aftermath of a holocaust which left the Matriarch and her brother as the only viable survivors. Rather than give in to the lethargy of despair, the Matriarch set herself the task of repopulating the denuded Earth, but though the family does survive and even thrive after a fashion, the lack of diversity in the gene pool has a predictable effect. When Dolores crawls back from the forest alone, neither bride nor sacrifice, the Matriarch’s uncharacteristic fallibility destabilizes the precarious balance between the older generation and the younger children who, in their violent strangeness, seem the true inheritors of this new Earth. Williams compiles her images in breathless, smothering drifts that mimic both the oppressive landscape and the gauzy unreliability of the main characters’ perceptions with virtuosic intensity. But while Williams’ linguistic project is akin to the early work of Cormac McCarthy, who mines similar themes with a similar sense of claustrophobic animality, her more absurdist touches (including a TV show featuring Thomas Aquinas and stories within the story that echo both pop culture and the Arabian Nights) guide the novel. This is unfortunate in a book that insists so fervently on the fetishization of its main characters’ disabilities. The result shifts an already deeply challenging book from a meditation on cruelty to an enactment of the same cruelty Williams set out with the intent to explore, but not, the reader has to believe, to indulge.
This novel awes on the sentence level but ultimately bludgeons the reader with the brutality of its larger vision.Pub Date: March 1, 2022
ISBN: 978-0-3746-0508-7
Page Count: 240
Publisher: MCD/Farrar, Straus and Giroux
Review Posted Online: Dec. 23, 2021
Kirkus Reviews Issue: Jan. 15, 2022
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
SEEN & HEARD
One of the noblest characters in American literature gets a novel worthy of him.
Mark Twain's Adventures of Huckleberry Finn as told from the perspective of a more resourceful and contemplative Jim than the one you remember.
This isn’t the first novel to reimagine Twain’s 1885 masterpiece, but the audacious and prolific Everett dives into the very heart of Twain’s epochal odyssey, shifting the central viewpoint from that of the unschooled, often credulous, but basically good-hearted Huck to the more enigmatic and heroic Jim, the Black slave with whom the boy escapes via raft on the Mississippi River. As in the original, the threat of Jim’s being sold “down the river” and separated from his wife and daughter compels him to run away while figuring out what to do next. He's soon joined by Huck, who has faked his own death to get away from an abusive father, ramping up Jim’s panic. “Huck was supposedly murdered and I’d just run away,” Jim thinks. “Who did I think they would suspect of the heinous crime?” That Jim can, as he puts it, “[do] the math” on his predicament suggests how different Everett’s version is from Twain’s. First and foremost, there's the matter of the Black dialect Twain used to depict the speech of Jim and other Black characters—which, for many contemporary readers, hinders their enjoyment of his novel. In Everett’s telling, the dialect is a put-on, a manner of concealment, and a tactic for survival. “White folks expect us to sound a certain way and it can only help if we don’t disappoint them,” Jim explains. He also discloses that, in violation of custom and law, he learned to read the books in Judge Thatcher’s library, including Voltaire and John Locke, both of whom, in dreams and delirium, Jim finds himself debating about human rights and his own humanity. With and without Huck, Jim undergoes dangerous tribulations and hairbreadth escapes in an antebellum wilderness that’s much grimmer and bloodier than Twain’s. There’s also a revelation toward the end that, however stunning to devoted readers of the original, makes perfect sense.
One of the noblest characters in American literature gets a novel worthy of him.Pub Date: March 19, 2024
ISBN: 9780385550369
Page Count: 320
Publisher: Doubleday
Review Posted Online: Dec. 16, 2023
Kirkus Reviews Issue: Jan. 15, 2024
PERSPECTIVES
PERSPECTIVES
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