An engaging if somewhat flat teenage narrative of an apparent abduction and a dissolving friendship.
A novel of youth and not-quite-innocence set in 1980s California, where teenage loyalties are tested by the disappearance of one girl and the growing suspicion, on the part of her best friend, that an elaborate deception may have been perpetrated.
Thirteen-year-old Eulabee, “a very good student with a sinister side,” and her best friend, Maria Fabiola, a precocious beauty, are as lucky as any California girls can be. Living in the wealthy enclave of Sea Cliff with a view of the Golden Gate Bridge (though Eulabee’s family is not rich), they attend the exclusive Spragg School for Girls and are renowned for their daring ability to scale the local cliffs and to read the treacherous ocean tides. They also know “where the boys live” in their neighborhood, though the danger at the heart of the novel resides elsewhere. “Separately we are good girls,” Eulabee explains, “together...we are trouble.” Innocent trouble, that is, of the teenage variety involving drugs (negligible), alcohol (purveyed by bad boys), and lying to parents and teachers. The first shadow to fall on this breezy narrative is that of a parked car noticed by the girls one morning on their way to school. The driver asks them the time, they answer and walk on, but Maria Fabiola insists, “He was touching himself…and he said he’s going to find us later!” Eulabee, who says she didn’t see this happen, is branded a traitor at school (and later a “slut” for being mauled at a party). Then Maria Fabiola goes missing. Two more apparent disappearances follow, one all too real. The narrative darkens, and Eulabee’s impulse to uncover the truth behind the initial event both increases her isolation and, ironically, intensifies the tabloid drama. “The newspapers called what happened the Sea Cliff Seizures, and the name stuck,” she reflects decades later when a chance meeting in 2019 sheds new light on the distant affair. That final chapter, in its compressed elegance and psychological subtlety, also hints at the novel that might have been.
An engaging if somewhat flat teenage narrative of an apparent abduction and a dissolving friendship.Pub Date: Feb. 9, 2021
ISBN: 978-0-06-293623-3
Page Count: 272
Publisher: Ecco/HarperCollins
Review Posted Online: Oct. 13, 2020
Kirkus Reviews Issue: Nov. 1, 2020
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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