An unblinking look at regional ills and richness that suffers from a dearth of African-American voices.
Culled from successive annual collections of New Stories from the South, these strong selections by novelist Anne Tyler stretch from 1996 to 2005.
The winners here have jumped through several editorial hoops, from initial publication in literary journals like the New Yorker and Ploughshares, to further selection as the best Southern fiction—not an easy quality to define, admits keen-witted, no-nonsense Tyler in her introduction. Though many of the stories will be familiar to readers, they are no less pleasing. Lee Smith’s masterly “The Happy Memories Club” (from the Atlantic Monthly), about a feisty nursing-home inmate determined to resist the censorship of her lifetime of memories, is one of several tales tackling head-on the sad, nearly squalid endings of cherished relatives. Some of these elders carry with them the edged legacy of racism and Confederate honor. Pam Durban’s “Gravity” treats a mother’s embarrassing, repetitive stories of her longtime black servant; Mamie has been dead for 14 years but still provides a beacon for the confused Charleston lady. In Gregory Sanders’s “Good Witch, Bad Witch,” a Houston woman on her last legs redeems herself of “compartmentalized” racism by bestowing a final largesse on the “nigra man” who takes care of her lawn. Lucia Nevai’s “Faith Healer” shows Northerners getting a grand Southern reception when a divorced couple seeking a Tennessee faith healer arrive at Willie Mae’s house in Pikeville—and the Pittsburgh husband’s own racist views are sorely tested. Other outsiders, a family of Sudanese in Stephanie Soileau’s “The Boucherie,” share a cultural moment with their Louisiana neighbors when a wayward cow has to be butchered, under Muslim law. There’s also plenty of hardy, run-on, vernacular storytelling, as in Clyde Edgerton’s “Debra’s Flap and Snap” and Max Steele’s hilarious, hair-raising tale of unspeakable family secrets, “The Unripe Heart.”
An unblinking look at regional ills and richness that suffers from a dearth of African-American voices.Pub Date: Sept. 16, 2005
ISBN: 1-56512-470-7
Page Count: 368
Publisher: Algonquin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 2005
The phrase “tour de force” could have been invented for this audacious novel.
Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives.
Yanagihara (The People in the Trees, 2013) takes the still-bold leap of writing about characters who don’t share her background; in addition to being male, JB is African-American, Malcolm has a black father and white mother, Willem is white, and “Jude’s race was undetermined”—deserted at birth, he was raised in a monastery and had an unspeakably traumatic childhood that’s revealed slowly over the course of the book. Two of them are gay, one straight and one bisexual. There isn’t a single significant female character, and for a long novel, there isn’t much plot. There aren’t even many markers of what’s happening in the outside world; Jude moves to a loft in SoHo as a young man, but we don’t see the neighborhood change from gritty artists’ enclave to glitzy tourist destination. What we get instead is an intensely interior look at the friends’ psyches and relationships, and it’s utterly enthralling. The four men think about work and creativity and success and failure; they cook for each other, compete with each other and jostle for each other’s affection. JB bases his entire artistic career on painting portraits of his friends, while Malcolm takes care of them by designing their apartments and houses. When Jude, as an adult, is adopted by his favorite Harvard law professor, his friends join him for Thanksgiving in Cambridge every year. And when Willem becomes a movie star, they all bask in his glow. Eventually, the tone darkens and the story narrows to focus on Jude as the pain of his past cuts deep into his carefully constructed life.
The phrase “tour de force” could have been invented for this audacious novel.Pub Date: March 10, 2015
ISBN: 978-0-385-53925-8
Page Count: 720
Publisher: Doubleday
Review Posted Online: Dec. 21, 2014
Kirkus Reviews Issue: Jan. 1, 2015
BOOK REVIEW
BOOK REVIEW
PROFILES
PERSPECTIVES
Once again, Hilderbrand displays her gift for making us care most about her least likable characters.
Hilderbrand’s latest cautionary tale exposes the toxic—and hilarious—impact of gossip on even the most sophisticated of islands.
Eddie and Grace Pancik are known for their beautiful Nantucket home and grounds, financed with the profits from Eddie’s thriving real estate company (thriving before the crash of 2008, that is). Grace raises pedigreed hens and, with the help of hunky landscape architect Benton Coe, has achieved a lush paradise of fowl-friendly foliage. The Panciks’ teenage girls, Allegra and Hope, suffer invidious comparisons of their looks and sex appeal, although they're identical twins. The Panciks’ friends the Llewellyns (Madeline, a blocked novelist, and her airline-pilot husband, Trevor) invested $50,000, the lion’s share of Madeline’s last advance, in Eddie’s latest development. But Madeline, hard-pressed to come up with catalog copy, much less a new novel, is living in increasingly straightened circumstances, at least by Nantucket standards: she can only afford $2,000 per month on the apartment she rents in desperate hope that “a room of her own” will prime the creative pump. Construction on Eddie’s spec houses has stalled, thanks to the aforementioned crash. Grace, who has been nursing a crush on Benton for some time, gives in and a torrid affair ensues, which she ill-advisedly confides to Madeline after too many glasses of Screaming Eagle. With her agent and publisher dropping dire hints about clawing back her advance and Eddie “temporarily” unable to return the 50K, what’s a writer to do but to appropriate Grace’s adultery as fictional fodder? When Eddie is seen entering her apartment (to ask why she rented from a rival realtor), rumors spread about him and Madeline, and after the rival realtor sneaks a look at Madeline’s rough draft (which New York is hotly anticipating as “the Playboy Channel meets HGTV”), the island threatens to implode with prurient snark. No one is spared, not even Hilderbrand herself, “that other Nantucket novelist,” nor this magazine, “the notoriously cranky Kirkus.”
Once again, Hilderbrand displays her gift for making us care most about her least likable characters.Pub Date: June 16, 2015
ISBN: 978-0-316-33452-5
Page Count: 384
Publisher: Little, Brown
Review Posted Online: May 20, 2015
Kirkus Reviews Issue: June 1, 2015
PERSPECTIVES
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