The best kind of shaggy dog story, delightful in every particular.
Good news, fiction fans—there's autofiction, fabulism, literary biography, and even Yiddish theater in the afterlife.
“The afterlife, it seemed,” reports the narrator of this book, who is called ________ or sometimes ________ ________ but definitely resembles Hemley himself, “was not unlike the annual Associated Writing Programs Conference, full of smart, unfulfilled people such as me.” Elsewhere described as “footnotes having a get-together,” this is the Café of Minor Authors, aka Oblivion, where poor________ has landed after a massive heart attack at 62. Minutes after receiving word from his agent that the auction for his new book was “in the stratosphere,” he got a second notification: “_______, I’M SO SO SORRY. That was meant for another client.” Oof. So much for that mortal coil. But who does ________ find is his guide in the beyond but a “jovial boor” named Jozef whom he knew in his 20s in Chicago when both worked at a literary magazine. Jozef shows him how to order a cappuccino, where the library is, and how the dead can haunt history, returning to scenes in the lives of their heroes. Off they go to Prague to visit ________’s beloved Kafka, who, it turns out, was briefly acquainted with his great-grandmother Hanna, an actress in the Yiddish theater. Hemley has lots of fun with the details of these ghostly visits: “I was too shy to sit in Kafka’s lap, as it were (a sentence I never imagined myself writing before this), so I sat on the chair beside him where Brod had placed his hat.” A mostly hilarious mashup of real incidents and characters from Hemley’s career, historical fact, and giddy fantasy, the novel also has moments of real sorrow and poignancy. For example, _________ can’t encounter figures of the early 20th century without recalling which were to perish at which concentration camp—all three of Kafka’s sisters, for example. And in the end, it’s about how to live—and die—with frustrated ambitions and still have a pretty good time.
The best kind of shaggy dog story, delightful in every particular.Pub Date: June 1, 2022
ISBN: 978-1-63752-781-8
Page Count: 194
Publisher: Gold Wake Press
Review Posted Online: March 15, 2022
Kirkus Reviews Issue: April 1, 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
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
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