An engrossing collection grounded by the complex emotional dynamics between soldiers and their families.
Kelly presents an anthology of stories reflecting the effects of war on home and family.
Drawing on her experiences as the wife of a fighter pilot during her husband’s three wartime deployments in Iraq and Afghanistan, the author, a novelist and poet, collects here 14 tales inspired by the lives of women affected by military service and war. Kelly observes that the stress and sadness that come with the death of a loved one can often become catalysts for personal change, as evidenced in the opening story, “Finding the Good Light,” in which Diane, emotionally exhausted after attending eight military funerals and divorcing her Navy husband, finds renewal by becoming a Hollywood actress. One of the author’s most obvious storytelling strengths is her credible, acute portrayal of interpersonal tensions, as demonstrated in the memorable “Prayers of an American Wife,” when one Navy wife discovers another, who happens to be her neighbor, enjoying an illicit extramarital affair. While noticing a strange male visitor entering her neighbor’s house through the side door one day, the faithful observing wife finds herself “savagely heartbroken,” nervously clutching her Pomeranian, who’s blissfully “unaware of the betrayal happening just across the lawn.” This knack is evident even in the collection’s shortest tale, “The Strangers of Dubai,” in which a soldier on leave with his wife visits an Afghan gold market with questionable bargaining tactics. The affecting coming-of-age evolution of a military brat in “Rachel’s Story” profiles a girl as she rapidly learns about big-city life, friendship, love, and the precious commodity of time. Kelly clearly channeled her own emotions, confusion, loneliness, sacrifice, and love into these stories illuminating the struggle of family members who may not be fighting wars on the battlefield but are keeping the home fires burning. These themes provide richly resonant material for these well-written short stories about the wartime experience told from the perspectives of those waiting patiently (and impatiently) at home.
An engrossing collection grounded by the complex emotional dynamics between soldiers and their families.Pub Date: Jan. 30, 2024
ISBN: 9781647791445
Page Count: 172
Publisher: University of Nevada Press
Review Posted Online: Jan. 30, 2024
Kirkus Reviews Issue: March 15, 2024
Review Program: Kirkus Indie
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
SEEN & HEARD
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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