A well-defined social milieu and articulate characters make Coy’s is it/isn’t it novel an interesting, if uncertain,...
Spot-on satire or earnest picture of youth in transition? That’s up to readers to decide with Coy’s debut novel about being young and part of the Nashville scene.
Neil Oberlin, the novel’s narrator, is a graphic designer and music aficionado who has been in Nashville for a few years. The circumstances of his move—new job, death in the family, freshly degreed from graduate school—left Neil somewhat dazed, but his life has settled into a groove of seeking out clients, attending concerts, and hanging out with a cadre of friends who deliver rueful, self-aware political manifestos. Neil’s life is upended, however, by the latest musical star in the Nashville firmament, Garrett Sedgwick, who hires Neil to design the cover art for his latest album. In the process of hanging out and working with Sedgwick, Neil makes a discovery about the soon-to-be-legendary musician that sets his perspective spinning and provides Neil with insights he might have preferred to do without. Coy’s voice is strong and sure; he captures Neil’s voice and tone with specificity and confidence. However, readers’ tolerance for Neil and his impressions of the Nashville scene may strongly depend on whether they see the novel as a satire of the hip, ironic detachment and self-reflexive views of the millennial generation or an earnest attempt to capture their thoughts and hopes in the second decade of the 21st century. Those who see Coy’s work as being meant seriously will likely find the characters vacuous and talkative to a fault, and the thrust of the narrative will be greatly diluted. For those who see a satirical purpose to Coy’s prose, the narrative will likely carry more resonance, and the end result of Sedgwick and Oberlin’s relationship will have a particular melancholy weight, even when seen through the satirical lens.
A well-defined social milieu and articulate characters make Coy’s is it/isn’t it novel an interesting, if uncertain, experience.Pub Date: July 15, 2015
ISBN: 978-0-692-47942-1
Page Count: 282
Publisher: CreateSpace
Review Posted Online: Sept. 9, 2015
Review Program: Kirkus Indie
A treat for fans of The Evil Dead or Zombieland, complete with affordable solutions for better living.
A hardy band of big-box retail employees must dig down for their personal courage when ghosts begin stalking them through home furnishings.
You have to give it up for the wave of paranormal novels that have plagued the last decade in literature; at least they’ve made writers up their games when it comes to finding new settings in which to plot their scary moments. That’s the case with this clever little horror story from longtime pop-culture journalist Hendrix (Satan Loves You, 2012, etc.). Set inside a disturbingly familiar Scandinavian furniture superstore in Cleveland called Orsk, the book starts as a Palahniuk-tinged satire about the things we own—the novel is even wrapped in the form of a retail catalog complete with product illustrations. Our main protagonist is Amy, an aimless 24-year-old retail clerk. She and an elderly co-worker, Ruth Anne, are recruited by their anal-retentive boss, Basil (a closet geek), to investigate a series of strange breakages by walking the showroom floor overnight. They quickly uncover two other co-workers, Matt and Trinity, who have stayed in the store to film a reality show called Ghost Bomb in hopes of catching a spirit on tape. It’s cute and quite funny in a Scooby Doo kind of way until they run across Carl, a homeless squatter who's just trying to catch a break. Following an impromptu séance, Carl is possessed by an evil spirit and cuts his own throat. It turns out the Orsk store was built on the remains of a brutal prison called the Cuyahoga Panopticon, and its former warden, Josiah Worth, has returned from the dead to start up operations again. It sounds like an absurd setting for a haunted-house novel, but Hendrix makes it work to the story’s advantage, turning the psychological manipulations and scripted experiences that are inherent to the retail experience into a sinister fight for survival.
Pub Date: Sept. 23, 2014
ISBN: 978-1-59474-526-3
Page Count: 240
Publisher: Quirk Books
Review Posted Online: July 22, 2014
Kirkus Reviews Issue: Sept. 1, 2014
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Kin “[find] each other’s lives inscrutable” in this rich, sharp story about the way identity is formed.
Inseparable identical twin sisters ditch home together, and then one decides to vanish.
The talented Bennett fuels her fiction with secrets—first in her lauded debut, The Mothers (2016), and now in the assured and magnetic story of the Vignes sisters, light-skinned women parked on opposite sides of the color line. Desiree, the “fidgety twin,” and Stella, “a smart, careful girl,” make their break from stultifying rural Mallard, Louisiana, becoming 16-year-old runaways in 1954 New Orleans. The novel opens 14 years later as Desiree, fleeing a violent marriage in D.C., returns home with a different relative: her 8-year-old daughter, Jude. The gossips are agog: “In Mallard, nobody married dark....Marrying a dark man and dragging his blueblack child all over town was one step too far.” Desiree's decision seals Jude’s misery in this “colorstruck” place and propels a new generation of flight: Jude escapes on a track scholarship to UCLA. Tending bar as a side job in Beverly Hills, she catches a glimpse of her mother’s doppelgänger. Stella, ensconced in White society, is shedding her fur coat. Jude, so Black that strangers routinely stare, is unrecognizable to her aunt. All this is expertly paced, unfurling before the book is half finished; a reader can guess what is coming. Bennett is deeply engaged in the unknowability of other people and the scourge of colorism. The scene in which Stella adopts her White persona is a tour de force of doubling and confusion. It calls up Toni Morrison’s The Bluest Eye, the book's 50-year-old antecedent. Bennett's novel plays with its characters' nagging feelings of being incomplete—for the twins without each other; for Jude’s boyfriend, Reese, who is trans and seeks surgery; for their friend Barry, who performs in drag as Bianca. Bennett keeps all these plot threads thrumming and her social commentary crisp. In the second half, Jude spars with her cousin Kennedy, Stella's daughter, a spoiled actress.
Kin “[find] each other’s lives inscrutable” in this rich, sharp story about the way identity is formed.Pub Date: June 2, 2020
ISBN: 978-0-525-53629-1
Page Count: 352
Publisher: Riverhead
Review Posted Online: March 14, 2020
Kirkus Reviews Issue: April 1, 2020
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
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