So many cars and guns, so many screw-ups, so many dead bodies—they all blur together after a while.
Schwarz’s fictionalized biography of Bonnie Parker, who, with Clyde Barrow, gained notoriety as part of a wave of Depression-era outlaws, will divide readers along generational lines.
For those too young to remember the 1967 movie Bonnie and Clyde, this play-by-play account of the couple’s far-from-successful criminal career offers a grim introduction to a gang of characters hopelessly downtrodden, psychopathic, or sometimes both. Readers who came of age around the time of the iconic film—a mix of comedy, graphic violence, and visual romanticism that made outlaws into larger-than-life romantic figures—will see Warren Beatty and Faye Dunaway on every page (as when Bonnie notices Clyde’s dimple for the first time) and will wonder at the necessity of this ploddingly detailed, all-too-earthbound retelling. But the novel’s opening offers even those who remember the movie a fresh, touching view of Bonnie before Clyde—the bright, sensitive child more plucky than headstrong evolving into a young woman still innocent but with “big dreams, no patience.” Briefly married at 16, Bonnie is waitressing in Dallas, Texas, when she meets Clyde, whose courtship is charming and conventional in its first weeks until he’s arrested while sleeping on her (always devoted) mother’s couch. Sent to jail in March 1930, Clyde convinces Bonnie to help him escape. Recaptured, he’s sent to a harsher prison. When he’s released two years later, they hit the road, living off Clyde’s robberies, which often go wrong and sometimes end in someone’s death. They’re joined in their dreary capers by a few hardened criminals but mostly by boys like W.D., riding along for the excitement until implicated too deeply to easily leave. By 1934, Bonnie is destitute, in constant pain from a car accident, drinking and popping pills. Still committed to deluded loser Clyde, she continues writing romantic poetry although her own romantic illusions evaporated long ago.
So many cars and guns, so many screw-ups, so many dead bodies—they all blur together after a while.Pub Date: July 7, 2020
ISBN: 978-1-4767-4545-9
Page Count: 352
Publisher: Atria
Review Posted Online: April 12, 2020
Kirkus Reviews Issue: May 1, 2020
One of the noblest characters in American literature gets a novel worthy of him.
Mark Twain's Adventures of Huckleberry Finn as told from the perspective of a more resourceful and contemplative Jim than the one you remember.
This isn’t the first novel to reimagine Twain’s 1885 masterpiece, but the audacious and prolific Everett dives into the very heart of Twain’s epochal odyssey, shifting the central viewpoint from that of the unschooled, often credulous, but basically good-hearted Huck to the more enigmatic and heroic Jim, the Black slave with whom the boy escapes via raft on the Mississippi River. As in the original, the threat of Jim’s being sold “down the river” and separated from his wife and daughter compels him to run away while figuring out what to do next. He's soon joined by Huck, who has faked his own death to get away from an abusive father, ramping up Jim’s panic. “Huck was supposedly murdered and I’d just run away,” Jim thinks. “Who did I think they would suspect of the heinous crime?” That Jim can, as he puts it, “[do] the math” on his predicament suggests how different Everett’s version is from Twain’s. First and foremost, there's the matter of the Black dialect Twain used to depict the speech of Jim and other Black characters—which, for many contemporary readers, hinders their enjoyment of his novel. In Everett’s telling, the dialect is a put-on, a manner of concealment, and a tactic for survival. “White folks expect us to sound a certain way and it can only help if we don’t disappoint them,” Jim explains. He also discloses that, in violation of custom and law, he learned to read the books in Judge Thatcher’s library, including Voltaire and John Locke, both of whom, in dreams and delirium, Jim finds himself debating about human rights and his own humanity. With and without Huck, Jim undergoes dangerous tribulations and hairbreadth escapes in an antebellum wilderness that’s much grimmer and bloodier than Twain’s. There’s also a revelation toward the end that, however stunning to devoted readers of the original, makes perfect sense.
One of the noblest characters in American literature gets a novel worthy of him.Pub Date: March 19, 2024
ISBN: 9780385550369
Page Count: 320
Publisher: Doubleday
Review Posted Online: Dec. 16, 2023
Kirkus Reviews Issue: Jan. 15, 2024
PERSPECTIVES
PERSPECTIVES
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...
Four Chicago sisters anchor a sharp, sly family story of feminine guile and guilt.
Newcomer Lombardo brews all seven deadly sins into a fun and brimming tale of an unapologetically bougie couple and their unruly daughters. In the opening scene, Liza Sorenson, daughter No. 3, flirts with a groomsman at her sister’s wedding. “There’s four of you?” he asked. “What’s that like?” Her retort: “It’s a vast hormonal hellscape. A marathon of instability and hair products.” Thus begins a story bristling with a particular kind of female intel. When Wendy, the oldest, sets her sights on a mate, she “made sure she left her mark throughout his house—soy milk in the fridge, box of tampons under the sink, surreptitious spritzes of her Bulgari musk on the sheets.” Turbulent Wendy is the novel’s best character, exuding a delectable bratty-ness. The parents—Marilyn, all pluck and busy optimism, and David, a genial family doctor—strike their offspring as impossibly happy. Lombardo levels this vision by interspersing chapters of the Sorenson parents’ early lean times with chapters about their daughters’ wobbly forays into adulthood. The central story unfurls over a single event-choked year, begun by Wendy, who unlatches a closed adoption and springs on her family the boy her stuffy married sister, Violet, gave away 15 years earlier. (The sisters improbably kept David and Marilyn clueless with a phony study-abroad scheme.) Into this churn, Lombardo adds cancer, infidelity, a heart attack, another unplanned pregnancy, a stillbirth, and an office crush for David. Meanwhile, youngest daughter Grace perpetrates a whopper, and “every day the lie was growing like mold, furring her judgment.” The writing here is silky, if occasionally overwrought. Still, the deft touches—a neighborhood fundraiser for a Little Free Library, a Twilight character as erotic touchstone—delight. The class calibrations are divine even as the utter apolitical whiteness of the Sorenson world becomes hard to fathom.
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet another pleasurable tendril of sisterly malice uncurls.Pub Date: June 25, 2019
ISBN: 978-0-385-54425-2
Page Count: 544
Publisher: Doubleday
Review Posted Online: March 3, 2019
Kirkus Reviews Issue: March 15, 2019
SEEN & HEARD
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