Winner of this year’s Roerich Prize, Wiman’s austere volume derives its plain aesthetic from the landscape in which it dwells: the west Texas where his family settled in the early part of the century, a terrain as spare and still as the calm centers of Wiman’s tight and meditative poems. Though very much a family historian, Wiman’s “he” remains smartly impersonal as he tries to recover a fading past of a woman who communed with storms (“Revenant”), another who’s losing her hearing (“Hearing Loss”), and a dying fisherman solaced with his friends’ fish tales (“Fisherman”). The thoughtful narratives here work toward their hardscrabble insights: a half-standing house in a clearing leads him to think “a nun could suddenly want his life’ (“Clearing”); his father’s profound aphorisms resonate in “What I Know,” and he understands impermanence, and his presence as “only a passing/havoc” in “Elsewhere.” The long narrative poem of the title chronicles a family’s history as it settles western Texas in the early “20s—how they eked a living from the unyielding earth, first sharecropping, then owning their own farm through drought and depression. Biblical in tone, Wiman’s tale of ordinary madness, fire and death, and loss ends amidst the rubble of the farmhouse, in the ever-present stillness of empty space. Wiman finds God in this past, in lines that are like the rain in “Lakeview Cemetery”: clean and elliptical. The debut of a poet we will reckon with over time.
Pub Date: Nov. 21, 1998
ISBN: 1-885266-67-7
Page Count: 80
Publisher: N/A
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Nov. 15, 1998
BOOK REVIEW
BOOK REVIEW
Honeyman’s endearing debut is part comic novel, part emotional thriller, and part love story.
A very funny novel about the survivor of a childhood trauma.
At 29, Eleanor Oliphant has built an utterly solitary life that almost works. During the week, she toils in an office—don’t inquire further; in almost eight years no one has—and from Friday to Monday she makes the time go by with pizza and booze. Enlivening this spare existence is a constant inner monologue that is cranky, hilarious, deadpan, and irresistible. Eleanor Oliphant has something to say about everything. Riding the train, she comments on the automated announcements: “I wondered at whom these pearls of wisdom were aimed; some passing extraterrestrial, perhaps, or a yak herder from Ulan Bator who had trekked across the steppes, sailed the North Sea, and found himself on the Glasgow-Edinburgh service with literally no prior experience of mechanized transport to call upon.” Eleanor herself might as well be from Ulan Bator—she’s never had a manicure or a haircut, worn high heels, had anyone visit her apartment, or even had a friend. After a mysterious event in her childhood that left half her face badly scarred, she was raised in foster care, spent her college years in an abusive relationship, and is now, as the title states, perfectly fine. Her extreme social awkwardness has made her the butt of nasty jokes among her colleagues, which don’t seem to bother her much, though one notices she is stockpiling painkillers and becoming increasingly obsessed with an unrealistic crush on a local musician. Eleanor’s life begins to change when Raymond, a goofy guy from the IT department, takes her for a potential friend, not a freak of nature. As if he were luring a feral animal from its hiding place with a bit of cheese, he gradually brings Eleanor out of her shell. Then it turns out that shell was serving a purpose.
Honeyman’s endearing debut is part comic novel, part emotional thriller, and part love story.Pub Date: May 9, 2017
ISBN: 978-0-7352-2068-3
Page Count: 336
Publisher: Pamela Dorman/Viking
Review Posted Online: Jan. 22, 2017
Kirkus Reviews Issue: Feb. 1, 2017
BOOK TO SCREEN
As she seeks to repair bridges, Cat awakens anger and treachery in the hearts of those she once betrayed. Making amends,...
Before sobriety, Catherine "Cat" Coombs had it all: fun friends, an exciting job, and a love affair with alcohol. Until she blacked out one more time and woke up in a stranger’s bed.
By that time, “having it all” had already devolved into hiding the extent of her drinking from everyone she cared about, including herself. Luckily for Cat, the stranger turned out to be Jason Halliwell, a rather delicious television director marking three years, eight months, and 69 days of sobriety. Inspired by Jason—or rather, inspired by the prospect of a romantic relationship with this handsome hunk—Cat joins him at AA meetings and embarks on her own journey toward clarity. But sobriety won’t work until Cat commits to it for herself. Their relationship is tumultuous, as Cat falls off the wagon time and again. Along the way, Cat discovers that the cold man she grew up endlessly failing to please was not her real father, and with his death, her mother’s secret escapes. So she heads for Nantucket, where she meets her drunken dad and two half sisters—one boisterously welcoming and the other sulkily suspicious—and where she commits an unforgivable blunder. Years later, despairing of her persistent relapses, Jason has left Cat, taking their daughter with him. Finally, painfully, Cat gets clean. Green (Saving Grace, 2014, etc.) handles grim issues with a sure hand, balancing light romance with tense family drama. She unflinchingly documents Cat’s humiliations under the influence and then traces her commitment to sobriety. Simultaneously masking the motivations of those surrounding our heroine, Green sets up a surprising karmic lesson.
As she seeks to repair bridges, Cat awakens anger and treachery in the hearts of those she once betrayed. Making amends, like addiction, may endanger her future.Pub Date: June 23, 2015
ISBN: 978-1-250-04734-2
Page Count: 320
Publisher: St. Martin's
Review Posted Online: April 1, 2015
Kirkus Reviews Issue: April 15, 2015
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