Further evidence to cement Quin’s reputation as one of the most innovative, and most underappreciated, voices of her time.
Quin’s second novel (originally published in 1966) traces the fates of Ruth and Leonard as they settle back into binary monogamy after the death of their mysterious lodger, S, who had briefly been their invigorating third.
Ruth and Leonard are quintessential examples of the British midcentury bourgeois. Leonard works somewhat provisionally as a translator, but his real passion seems to be breeding orchids in his inherited weekend home somewhere on the coast of England. Ruth would like to be pregnant but is consistently uninterested in Leonard’s sexual advances. She channels all her eros into games she plays with her own image—considering her reflection in the mirror, trying on outfits, rearranging her body in various dissatisfied poses around their home. The couple is firmly settled in the habits of their middle age, traveling back and forth from their flat in town to Grey House by the coast, unable to break out of the stifling, claustrophobic conformity of their bourgeois repression, surrounded by the inherited clutter of the lives that came before their own. At the novel’s opening, Ruth and Leonard are also in mourning. The spring before, S had become their boarder to convalesce from an ailment that turns out to have been the aftereffects of an abortion. Enigmatic, playful, and keenly observant, S quickly became a stimulating third in their stultified lives, a person whom both Ruth and Leonard desire and confide in. When S disappears in a boating accident that may have been a suicide, Ruth and Leonard are left to pore obsessively through the journals and audio recordings she left behind. In searching for the truth about S’s death, they find instead a devastating clarity about the paucity of their own lives. Quin was a master stylist and a restless innovator in her own work. True to her inimitable form, the book develops its own method of overlapping language as Ruth and Leonard speak over and around each other, interrupted by poetically lineated sections where S’s recorded voice is represented alongside the blank space of her silences. The effect will likely make for heavy wading for many readers but results in an overheated, overcrowded novel that both dazzles and devastates in its uniquely rendered but nonetheless ubiquitous truths.
Further evidence to cement Quin’s reputation as one of the most innovative, and most underappreciated, voices of her time.Pub Date: Nov. 10, 2020
ISBN: 978-1-91150-884-7
Page Count: 160
Publisher: And Other Stories
Review Posted Online: July 28, 2020
Kirkus Reviews Issue: Aug. 15, 2020
A tender and moving portrait about the transcendent power of art and friendship.
An artwork’s value grows if you understand the stories of the people who inspired it.
Never in her wildest dreams would foster kid Louisa dream of meeting C. Jat, the famous painter of The One of the Sea, which depicts a group of young teens on a pier on a hot summer’s day. But in Backman’s latest, that’s just what happens—an unexpected (but not unbelievable) set of circumstances causes their paths to collide right before the dying 39-year-old artist’s departure from the world. One of his final acts is to bequeath that painting to Louisa, who has endured a string of violent foster homes since her mother abandoned her as a child. Selling the painting will change her life—but can she do it? Before deciding, she accompanies Ted, one of the artist’s close friends and one of the young teens captured in that celebrated painting, on a train journey to take the artist’s ashes to his hometown. She wants to know all about the painting, which launched Jat’s career at age 14, and the circle of beloved friends who inspired it. The bestselling author of A Man Called Ove (2014) and other novels, Backman gives us a heartwarming story about how these friends, set adrift by the violence and unhappiness of their homes, found each other and created a new definition of family. “You think you’re alone,” one character explains, “but there are others like you, people who stand in front of white walls and blank paper and only see magical things. One day one of them will recognize you and call out: ‘You’re one of us!’” As Ted tells stories about his friends—how Jat doubted his talents but found a champion in fiery Joar, who took on every bully to defend him; how Ali brought an excitement to their circle that was “like a blinding light, like a heart attack”—Louisa recognizes herself as a kindred soul and feels a calling to realize her own artistic gifts. What she decides to do with the painting is part of a caper worthy of the stories that Ted tells her. The novel is humorous, poignant, and always life-affirming, even when describing the bleakness of the teens’ early lives. “Art is a fragile magic, just like love,” as someone tells Louisa, “and that’s humanity’s only defense against death.”
A tender and moving portrait about the transcendent power of art and friendship.Pub Date: May 6, 2025
ISBN: 9781982112820
Page Count: 448
Publisher: Atria
Review Posted Online: July 4, 2025
Kirkus Reviews Issue: Aug. 1, 2025
SEEN & HEARD
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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