THE NEIGHBORS WE WANT

Humdrum domestic stresses hatch a flock of wildly florid complications.

Portland ad writer Adam Cooper, fired from his job at Lostine Windows for watching explicit videos at his workplace, is serving as a stay-at-home dad for his 7-month-old daughter, Maddie, while his wife, Sarah, struggles to pump milk each day during her downtime at César Chávez Elementary. Sarah’s unsought role as the family breadwinner is complicated by the unwelcome attention she gets from wealthy, entitled Chávez principal Evie Kemp, whose son, software engineer Crispin Kemp, has just been dumped by the Coopers’ neighbor Ali Washington, a receptionist and aspiring graphic designer who’s started to feel creepy about Crispin’s attentions. Ali’s shivers are the first sign that this apparently quotidian Oregon soap opera is being driven by some seriously dark energy. Ali has taken to posing in her bedroom window late at night to give Adam a private striptease. Crispin, who’s waiting to become a billionaire when Amazon acquires Logicstyx, the company he’s helped steer into the stratosphere, is disturbed in ways his mother can face only to the extent of thinking, “Crispin had gotten carried away again.” Sarah’s hiding secrets just as explosive as those of her husband and her next-door neighbor and the neighbor’s ex-lover. Ultimately, Adam’s ill-judged attempts to protect the wife who’s turned away from him ignite a full-blown blaze. Lane’s fragmentary narrative is constantly jumpy—not just when he’s shifting from one character’s point of view to the next, but even within single sentences like “Marriage is a scoreboard.”

A fever dream of the monsters lurking beneath the suburban surface. Not even Mister Rogers would want these neighbors.