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PETROCHEMICAL NOCTURNE

A bristling, lurching, and often insightful investigation of the past.

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Wright’s experimental novel meditates on history and racism in the Deep South.

Welcome to Louisiana. This “Sportsman’s Paradise,” as the state motto has it, is a land with a complicated past, from its slave trade to the Battle of New Orleans during the War of 1812 to its showcasing, and later removal, of a statue of Confederate Gen. Robert E. Lee. This fictional journey begins around 2016 in Baton Rouge, the state capital, named after a “red stick” that was once used to demarcate a border. It’s home to a section called Standard Heights, a neighborhood that was once “a company town built for workers by Standard Oil at the turn of the last century.” Many streets in the neighborhood are named after Native American nations—which is odd, given past violence against them by white settlers. Its proximity to what is now a large ExxonMobil plant makes it less-than-prime real estate. It’s also a place that was once home to a man named Toussaint; the pollution was so bad when he was growing up there that his father wouldn’t allow the opening of any windows in the family home. As the narrator, a writer on an unusual quest, converses with Toussaint, the story becomes a personalized tour of Southern injustice. Items for discussion include everything from The Negro Motorist Green Book and lynching postcards to the 2017 Floyd Mayweather-Connor McGregor boxing match. The narrator eventually makes it to New Orleans in time to see the removal of the Lee statue; he reveals that he, himself, is a distant relative to an infamous historical figure. A photo of that man is included, among other images, such as of a crumbling interior of the abandoned Charity Hospital in New Orleans. It all amounts to a collage-like look at America’s troubling past.    

Wright’s novel progresses in a concentrated but rather plotless manner in long, dense sentences. The ExxonMobil site in Baton Rouge is described as “a city-state unto itself with its own body of rules and oral traditions maintained by an order of petrochemical priests.” Toussaint speaks of how he “summoned the catawampus courage to overcome the trepidation and the taboo, which had gripped me for years” against opening windows at home. The work abounds with such slow, poetic lines, and their tone works best when guiding readers through lesser-known aspects of the past. For instance, a floodgate system called the Spillway is described, intriguingly enough, as only having been opened 11 times. Yet the work’s unrelenting earnestness can make for some jarring moments that may take readers out of the story, as when Toussaint’s father is said to have taken him to watch the Spillway opening one spring so that he would “fear death by water,” and the aforementioned boxing match is sold as a racial conflict with “white frat-bro types and their blonde ratchets, pumping fists and cheering for McGregor to whipsaw Mayweather.” That said, although the work’s examination of history is unsubtle, readers will be left with more than a few uncomfortable emotions to mull over.

A bristling, lurching, and often insightful investigation of the past.

Pub Date: N/A

ISBN: 9781604893434

Page Count: 345

Publisher: Livingston Press

Review Posted Online: May 23, 2023

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THE WEDDING PEOPLE

Uneven but fitfully amusing.

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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

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THE TESTAMENTS

Suspenseful, full of incident, and not obviously necessary.

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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

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