Anyone who’s hit rock bottom can still get a shot at redemption if they’re willing to do what it takes.
Helping a sick horse gives a washed-up musician in his 60s a chance to make peace with his past.
“Please,” whispers Al Ward, “please give me the strength to pull the trigger and let it be over.” Al isn’t contemplating suicide. An old horse has wandered into the abandoned Nevada mining camp that Al calls home, and he wants to put it out of its misery. The camp belonged to his late great-uncle Mel, who mined it for years with no success. Al would stay there and dry out whenever the excesses of life as a journeyman guitarist and songwriter became too much. But now the horse, scarred and bleeding from a coyote bite, intrudes on the camp, where Al has been holed up and hiding from his demons. The horse doesn’t do anything to provoke him. It just stands there in the snow, right outside the assayer’s office where Al sleeps, eats, thinks, and still writes songs by lantern light. When Al decides to show mercy and points his old .357 at the animal, he tearfully realizes that he can’t kill the poor beast “because he felt that he and the horse were the same.” It’s a familiar, oft-told story of someone unexpectedly finding healing in the presence of an animal, but Vlautin makes that trope his own. His writing style is spare, restrained, unsentimental, yet full of emotion and force. A songwriter and band frontman, Vlautin understands the ups and downs of a touring musician’s life, and his experiences inform Al’s long career playing casinos from Las Vegas to Reno to Tahoe and beyond. Al has a gift for songwriting, and plenty of tortured musicians—including heartbreaker Mona and the self-destructive Sanchez Brothers—clamored after him to write hits for them. Al never wished for much in life, only, as he says of the horse, to “be all right and live an all right life.” He’s managed to have plenty of all right moments, especially during his short-lived marriage to his true love, Maxine. Helping the horse might give him a chance to have another one. After Al makes a long trek to get help, a friend teases him that what he’s done “says something. Most people wouldn’t cross the street to do something decent, and you walked thirty miles in the snow, and you’re a drunk, lazy musician.” But Al’s risky walk shows he’s more than that; he’s still full of surprises.
Anyone who’s hit rock bottom can still get a shot at redemption if they’re willing to do what it takes.Pub Date: July 30, 2024
ISBN: 9780063346574
Page Count: 208
Publisher: Harper/HarperCollins
Review Posted Online: May 17, 2024
Kirkus Reviews Issue: June 15, 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
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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