A warm and remarkably funny book about death and caregiving that will make readers laugh through their tears.
A woman takes care of her dying best friend while handling her own messy life.
Edith and Ashley have been best friends for most of their lives. They’ve been there for each other during their greatest joys and struggles—marriages, infertility, and raising children. Now, though, Ash has to support Edi through their greatest, most heartbreaking challenge yet—Edi’s death. When Edi’s ovarian cancer progresses to the point that treatment is no longer an option, they decide she should stay at a hospice near Ash’s home in Massachusetts, leaving Edi's husband and young son back in Brooklyn. Ash spends most of her time in Edi’s hospice room, bringing Edi the food she requests, talking to the nurses, and handling an environment that is both horrifically bleak and hilariously odd—Fiddler on the Roof blares from one resident’s room every afternoon, as if it’s the soundtrack to everyone’s death. But as Ash takes care of Edi, she also has her own chaotic life to worry about. She has two lovely, nearly grown daughters whom she adores. She has a complicated relationship with her ex-husband, whom she never technically divorced and who spends most of his time at her house. And she’s sleeping with several people who are either on Edi’s care team or in Edi’s family, which leads to some awkward situations. Ash makes for a unique and easy-to-love narrator, one who jokes about her own self-centeredness even as she devotes her time to helping her best friend. Newman is frank about the physical reality of cancer and explicitly shows how grueling it can be to care for a friend while watching them die—there are falls and tears, leaking tubes that soak Edi in bile, and gradual changes to Edi’s appearance and mental state as the end draws nearer. As Ash says, “It’s monstrous. It is too much to take. Why do we even do this—love anybody? Our dumb animal hearts.” But Newman is also open and honest about how joy can commingle with grief and how happiness and gratitude can coexist with sorrow: “Life is just seesawing between the gorgeous and the menacing—like when you go for a run and one minute the whole neighborhood is lilacs in purple bloom, and then the next it’s stained boxer shorts and an inside-out latex glove.” Newman perfectly captures the beauty and burden of caring for someone in their final moments while showing the gift of Edi and Ash’s once-in-a-lifetime friendship.
A warm and remarkably funny book about death and caregiving that will make readers laugh through their tears.Pub Date: Nov. 8, 2022
ISBN: 978-0-06-323-089-7
Page Count: 224
Publisher: Harper/HarperCollins
Review Posted Online: Aug. 16, 2022
Kirkus Reviews Issue: Sept. 1, 2022
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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