An inventive, linguistically adept experiment that appears to have been made painful to read on purpose.

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WRETCHEDNESS

A musician takes stock of his sordid life in this seedy, stream-of-consciousness confessional set in the streets, basements, and other hives of Sweden.

Tichý’s sort-of-novel was shortlisted for Sweden’s most prestigious literary prize, but whether this ranting, breathless confessional makes more sense in the original language is anyone’s guess. Even if it had more form and a less nonsensical style, at best it would keep company with the likes of Kerouac and the form-shattering Beats or maybe with the junkie lit that takes a meandering path from Burroughs to Irvine Welsh and on to Tony O’Neill’s desperate memoirs or, more recently, Nico Walkers’ Cherry. Yes, there are chapter breaks, but the novel itself is not so much crafted as unloaded in one rarely broken, sporadically punctuated block of first-person soliloquy by the protagonist, a freelance musician named Cody. As they say, music is his life, and he spends much of the novel pontificating on genres and specific bands ranging from John Cage to Nirvana in High Fidelity–like fashion, although his specific obsession seems to be with the surrealistic Italian composer Giacinto Scelsi. The book is also something of a contemplation on mortality, as punctuated by the musician’s brief introductory interlude with a half-beaten addict on a bridge that comes back around as a surrealistic echo late in the game. The setting is raw, largely taking place in ugly hidey-holes that could just as easily be found in the council blocks of London or Edinburgh or Chicago’s public housing projects as in the gritty housing estates dotting the city of Malmö, Sweden. A mostly forgettable supporting cast doesn't distract much from Cody’s self-lacerating monologues, which can run pages at a time with only the occasional comma to break his caustic train of thought: “...I don’t know, Cody, I don’t know why I’m going over this again, over and over again, this mess, over and over again, this miserable shit, this murderously boring dirge...” and so on and on and on.

An inventive, linguistically adept experiment that appears to have been made painful to read on purpose.

Pub Date: June 2, 2020

ISBN: 978-1-911508-76-2

Page Count: 200

Publisher: And Other Stories

Review Posted Online: March 15, 2020

Kirkus Reviews Issue: April 1, 2020

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A strange, subtle, and haunting novel.

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THE GLASS HOTEL

A financier's Ponzi scheme unravels to disastrous effect, revealing the unexpected connections among a cast of disparate characters.

How did Vincent Smith fall overboard from a container ship near the coast of Mauritania, fathoms away from her former life as Jonathan Alkaitis' pretend trophy wife? In this long-anticipated follow-up to Station Eleven (2014), Mandel uses Vincent's disappearance to pick through the wreckage of Alkaitis' fraudulent investment scheme, which ripples through hundreds of lives. There's Paul, Vincent's half brother, a composer and addict in recovery; Olivia, an octogenarian painter who invested her retirement savings in Alkaitis' funds; Leon, a former consultant for a shipping company; and a chorus of office workers who enabled Alkaitis and are terrified of facing the consequences. Slowly, Mandel reveals how her characters struggle to align their stations in life with their visions for what they could be. For Vincent, the promise of transformation comes when she's offered a stint with Alkaitis in "the kingdom of money." Here, the rules of reality are different and time expands, allowing her to pursue video art others find pointless. For Alkaitis, reality itself is too much to bear. In his jail cell, he is confronted by the ghosts of his victims and escapes into "the counterlife," a soothing alternate reality in which he avoided punishment. It's in these dreamy sections that Mandel's ideas about guilt and responsibility, wealth and comfort, the real and the imagined, begin to cohere. At its heart, this is a ghost story in which every boundary is blurred, from the moral to the physical. How far will Alkaitis go to deny responsibility for his actions? And how quickly will his wealth corrupt the ambitions of those in proximity to it? In luminous prose, Mandel shows how easy it is to become caught in a web of unintended consequences and how disastrous it can be when such fragile bonds shatter under pressure.

A strange, subtle, and haunting novel.

Pub Date: March 24, 2020

ISBN: 978-0-525-52114-3

Page Count: 320

Publisher: Knopf

Review Posted Online: Nov. 25, 2019

Kirkus Reviews Issue: Dec. 15, 2019

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Fierce, poetic, uncompromising.

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THE CITY WE BECAME

This extremely urban fantasy, a love/hate song to and rallying cry for the author’s home of New York, expands her story “The City, Born Great” (from How Long ’Til Black Future Month, 2018).

When a great city reaches the point when it's ready to come to life, it chooses a human avatar, who guides the city through its birthing and contends with an extradimensional Enemy who seeks to strike at this vulnerable moment. Now, it is New York City’s time to be born, but its avatar is too weakened by the battle to complete the process. So each of the individual boroughs instantiates its own avatar to continue the fight. Manhattan is a multiracial grad student new to the city with a secret violent past that he can no longer quite remember; Brooklyn is an African American rap star–turned–lawyer and city councilwoman; Queens is an Indian math whiz here on a visa; the Bronx is a tough Lenape woman who runs a nonprofit art center; and Staten Island is a frightened and insular Irish American woman who wants nothing to do with the other four. Can these boroughs successfully awaken and heal their primary avatar and repel the invading white tentacles of the Enemy? The novel is a bold calling out of the racial tensions dividing not only New York City, but the U.S. as a whole; it underscores that people of color are an integral part of the city’s tapestry even if some white people prefer to treat them as interlopers. It's no accident that the only white avatar is the racist woman representing Staten Island, nor that the Enemy appears as a Woman in White who employs the forces of racism and gentrification in her invasion; her true self is openly inspired by the tropes of the xenophobic author H.P. Lovecraft. Although the story is a fantasy, many aspects of the plot draw on contemporary incidents. In the real world, white people don’t need a nudge from an eldritch abomination to call down a violent police reaction on people of color innocently conducting their daily lives, and just as in the book, third parties are fraudulently transferring property deeds from African American homeowners in Brooklyn, and gentrification forces out the people who made the neighborhood attractive in the first place. In the face of these behaviors, whataboutism, #BothSides, and #NotAllWhitePeople are feeble arguments.

Fierce, poetic, uncompromising.

Pub Date: March 24, 2020

ISBN: 978-0-316-50984-8

Page Count: 448

Publisher: Orbit

Review Posted Online: Nov. 25, 2019

Kirkus Reviews Issue: Dec. 15, 2019

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