A muddled but memorable descent into love and betrayal in queer Tehran.
Two gay men must navigate a partnership defined by secrecy and violence in this Iran-set noir.
Anjir has been in a tempestuous clandestine relationship with his childhood friend Zal since they were both teenagers. In a culture of deadly homophobia, they have stayed together—not sharing a home, but having regular assignations—perhaps longer than they should, but finding new life partners is simply too dangerous. Zal has carved out a safer public life for himself by marrying a wealthy woman named Mahtob, but Anjir has a lonelier day-to-day routine: working at a hotel and staying in an apartment both owned by his uncle, who lives in America. To escape this untenable situation, the two concoct a plan straight out of the VHS bootlegs of 1940s film noir they watch together: They’ll kill Mahtob, Anjir will have gender reassignment surgery and then become Zal’s second wife. The scheme is possible because of a peculiar Iranian policy, described by Leyli, a transgender woman Anjir befriends: “Strange government. Could kill you for being gay, but will foot the bill if you agree to a sex change.” When Zal disappears after being brutally beaten while with another man, Anjir must unravel the truth of what happened and decide whether to go forward with their plan alone. Sinaki’s prose is dense with sensory detail and mythological allusions, but his dialogue, which has neither a naturalistic cadence nor the caustic wit typical of the genre, proves a stumbling point. Likewise, some poetic turns of phrase seem off by a word (e.g., “Afterward, we made planets by connecting thorn wounds on my arm”), interrupting an otherwise hypnotic flow.
A muddled but memorable descent into love and betrayal in queer Tehran.Pub Date: Aug. 13, 2024
ISBN: 9780802163035
Page Count: 256
Publisher: Grove
Review Posted Online: July 4, 2024
Kirkus Reviews Issue: Aug. 1, 2024
Amateurish, with a twist savvy readers will see coming from a mile away.
A woman accused of shooting her husband six times in the face refuses to speak.
"Alicia Berenson was thirty-three years old when she killed her husband. They had been married for seven years. They were both artists—Alicia was a painter, and Gabriel was a well-known fashion photographer." Michaelides' debut is narrated in the voice of psychotherapist Theo Faber, who applies for a job at the institution where Alicia is incarcerated because he's fascinated with her case and believes he will be able to get her to talk. The narration of the increasingly unrealistic events that follow is interwoven with excerpts from Alicia's diary. Ah, yes, the old interwoven diary trick. When you read Alicia's diary you'll conclude the woman could well have been a novelist instead of a painter because it contains page after page of detailed dialogue, scenes, and conversations quite unlike those in any journal you've ever seen. " 'What's the matter?' 'I can't talk about it on the phone, I need to see you.' 'It's just—I'm not sure I can make it up to Cambridge at the minute.' 'I'll come to you. This afternoon. Okay?' Something in Paul's voice made me agree without thinking about it. He sounded desperate. 'Okay. Are you sure you can't tell me about it now?' 'I'll see you later.' Paul hung up." Wouldn't all this appear in a diary as "Paul wouldn't tell me what was wrong"? An even more improbable entry is the one that pins the tail on the killer. While much of the book is clumsy, contrived, and silly, it is while reading passages of the diary that one may actually find oneself laughing out loud.
Amateurish, with a twist savvy readers will see coming from a mile away.Pub Date: Feb. 5, 2019
ISBN: 978-1-250-30169-7
Page Count: 304
Publisher: Celadon Books
Review Posted Online: Nov. 3, 2018
Kirkus Reviews Issue: Nov. 15, 2018
BOOK REVIEW
BOOK REVIEW
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
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