Both tender and unflinching.
An award-winning author of books for young readers explores white supremacy and anti-fat bias in her first novel for adults.
No matter how Lena Baker might feel about her big body, others see her size as concerning, inconvenient, or distasteful. She has to go to several stores before she can find a shop that will help her find a wedding dress. Getting a restaurant table that meets her needs is an embarrassing ordeal. And medical professionals want to check her blood sugar levels and talk about her weight regardless of why she’s seeing them. Despite this, at age 40, she’s in a good place. She’s made a comfortable home for her little girl in Portland, Oregon, the city where she grew up, where her family and closest friends live. She’s engaged to Malcolm Wilson, the assistant pastor at her father’s church. And she’s doing work that is important to her. As the director of diversity, equity, and inclusion for Multnomah County’s public libraries, she’s putting together a program about Portland’s Black history. Then, on what is supposed to be her wedding day, Malcolm reveals that he has been untruthful with Lena; as she tries to recover from this betrayal, she also contends with the struggles that are endemic to being a woman approaching middle age—and those that are specific to being a big Black woman in contemporary America. Watson is adept at negotiating the complicated terrain of family, friends, and romantic partnership as they intersect with racism. As Watson weaves bits of history into the narrative, Lena sees herself in the Black people who chose to settle in the whitest city in America—a city that is white by design—and looks to them to teach her how to live in a world not made for her.
Both tender and unflinching.Pub Date: May 7, 2024
ISBN: 9780316570886
Page Count: 416
Publisher: Little, Brown
Review Posted Online: March 9, 2024
Kirkus Reviews Issue: April 1, 2024
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
Jonathan Livingston Kitty, it’s not.
A lonely postman learns that he’s about to die—and reflects on life as he bargains with a Hawaiian-shirt–wearing devil.
The 30-year-old first-person narrator in filmmaker/novelist Kawamura’s slim novel is, by his own admission, “boring…a monotone guy,” so unimaginative that, when he learns he has a brain tumor, the bucket list he writes down is dull enough that “even the cat looked disgusted with me.” Luckily—or maybe not—a friendly devil, dubbed Aloha, pops onto the scene, and he’s willing to make a deal: an extra day of life in exchange for being allowed to remove something pleasant from the world. The first thing excised is phones, which goes well enough. (The narrator is pleasantly surprised to find that “people seemed to have no problem finding something to fill up their free time.”) But deals with the devil do have a way of getting complicated. This leads to shallow musings (“Sometimes, when you rewatch a film after not having seen it for a long time, it makes a totally different impression on you than it did the first time you saw it. Of course, the movie hasn’t changed; it’s you who’s changed") written in prose so awkward, it’s possibly satire (“Tears dripped down onto the letter like warm, salty drops of rain”). Even the postman’s beloved cat, who gains the power of speech, ends up being prim and annoying. The narrator ponders feelings about a lost love, his late mother, and his estranged father in a way that some readers might find moving at times. But for many, whatever made this book a bestseller in Japan is going to be lost in translation.
Jonathan Livingston Kitty, it’s not.Pub Date: March 12, 2019
ISBN: 978-1-250-29405-0
Page Count: 176
Publisher: Flatiron Books
Review Posted Online: Feb. 16, 2019
Kirkus Reviews Issue: March 1, 2019
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