An emotionally taut and often haunting collection.
McNeely’s collection abounds with flawed relationships and fraught situations.
There’s a moment early in “Snow, Houston, 1974,” the first story in the book, in which Buddy, a young child, watches his father put out a fire in their home. His father makes an offhand joke to him that his mother doesn’t understand: “She hadn’t caught the joke in his father’s voice,” McNeely writes, and it leads to heightened tension between mother and father. The subtle complexities of that encounter act as a summary of what’s to come next: stories that follow Buddy as he grows up and his parents divorce as well as a few that trace the life of Turner, a would-be writer who develops a drinking problem at a young age. In returning to these characters several times and showing them from different angles, McNeely achieves an often heartbreaking level of detail. Later, in "No One's Trash," Buddy’s mother, Margot, gets her turn in the spotlight. Her frustrations over her marriage—and the fact that her pregnancy derailed her medical career—make for a slow-burning thread throughout the book, and it also illustrates McNeely’s commitment not to reduce any of his characters to types. The Turner we encounter first, given to comments like “I would be redeemed, I thought, by poetry and love,” eventually grows into a terrible, abusive boyfriend—though even that isn’t the end of his story. At one point, Buddy's cousin tells him, “We don’t play those kind of games anymore.” This book abounds with moments like those, in which characters’ youthful illusions fall away even though they’d seemed all too comfortable.
An emotionally taut and often haunting collection.Pub Date: June 28, 2022
ISBN: 978-1-68003-271-0
Page Count: 205
Publisher: Texas Review Press
Review Posted Online: May 24, 2022
Kirkus Reviews Issue: June 15, 2022
BOOK REVIEW
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
An affecting portrait of a prickly woman.
A lifetime’s worth of letters combine to portray a singular character.
Sybil Van Antwerp, a cantankerous but exceedingly well-mannered septuagenarian, is the titular correspondent in Evans’ debut novel. Sybil has retired from a beloved job as chief clerk to a judge with whom she had previously been in private legal practice. She is the divorced mother of two living adult children and one who died when he was 8. She is a reader of novels, a gardener, and a keen observer of human nature. But the most distinguishing thing about Sybil is her lifelong practice of letter writing. As advancing vision problems threaten Sybil’s carefully constructed way of life—in which letters take the place of personal contact and engagement—she must reckon with unaddressed issues from her past that threaten the house of cards (letters, really) she has built around herself. Sybil’s relationships are gradually revealed in the series of letters sent to and received from, among others, her brother, sister-in-law, children, former work associates, and, intriguingly, literary icons including Joan Didion and Larry McMurtry. Perhaps most affecting is the series of missives Sybil writes but never mails to a shadowy figure from her past. Thoughtful musings on the value and immortal quality of letters and the written word populate one of Sybil’s notes to a young correspondent while other messages are laugh-out-loud funny, tinged with her characteristic blunt tartness. Evans has created a brusque and quirky yet endearing main character with no shortage of opinions and advice for others but who fails to excavate the knotty difficulties of her own life. As Sybil grows into a delayed self-awareness, her letters serve as a chronicle of fitful growth.
An affecting portrait of a prickly woman.Pub Date: May 6, 2025
ISBN: 9780593798430
Page Count: 304
Publisher: Crown
Review Posted Online: Feb. 15, 2025
Kirkus Reviews Issue: March 15, 2025
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