A depressingly beautiful portrait of the metropolitan human.
An unnamed narrator experiences the violent tides of a contemporary drug-infused life in New York City.
Living in Williamsburg with a shiba inu named Max, an unnamed and genderless narrator struggles with a series of addictions: romance, drugs, and career. “Me, immortal teenager: always awkward and anxious, forever lonely, constantly desirous of Yes’s from No’s as if I were the deserving exception.” Steeped in both the art world and the advertising industry, the narrator experiences life through a cloud of medicine (“pop two lithium, one Zoloft, and two Klonopin”) and consequently functions as would a ghost haunting his own stomping grounds. The narrator spends time with Pedro, a supremely controversial performance artist who throws themed art parties with names like “Fuck My Mother,” encouraging decadent, uninhibited sexual behavior. The narrator does whatever Pedro requests, including drug cocktails and weeklong benders. The two engage romantically only to realize that their compatibility is just as ephemeral as their high. In the second part, the narrator seems to put a damper on the party scene, this time dating Jacques, an emerging actor who has violent tantrums that only rough sex and emotional outcries can calm. As the narrator attempts to go off meds, their relationship becomes exceptionally codependent, though Jacques is much better at staying away. The comedown affects every aspect of the narrator’s life and induces a series of highly disruptive and murderous episodes. Stoddard (Limiters, 2014, etc.) has created an addictive and intoxicating environment for his readers. The lack of pronouns and overwhelming use of action verbs give the text a depersonalized effervescence that penetrates the reader’s mind with almost no difficulty. As a result, the narrator could be anyone who happens to read this story, but most importantly, the narrator embodies a version of New York that we seldom talk about.
A depressingly beautiful portrait of the metropolitan human.Pub Date: June 19, 2018
ISBN: 978-0-9976432-1-3
Page Count: 188
Publisher: Itna Press
Review Posted Online: April 15, 2018
Kirkus Reviews Issue: May 1, 2018
Thoroughbreds and Virginia blue-bloods cavort, commit murder, and fall in love in Roberts's (Hidden Riches, 1994, etc.) latest romantic thriller — this one set in the world of championship horse racing. Rich, sheltered Kelsey Byden is recovering from a recent divorce when she receives a letter from her mother, Naomi, a woman she has believed dead for over 20 years. When Kelsey confronts her genteel English professor father, though, he sheepishly confesses that, no, her mother isn't dead; throughout Kelsey's childhood, she was doing time for the murder of her lover. Kelsey meets with Naomi and not only finds her quite charming, but the owner of Three Willows, one of the most splendid horse farms in Virginia. Kelsey is further intrigued when she meets Gabe Slater, a blue-eyed gambling man who owns a neighboring horse farm; when one of Gabe's horses is mated with Naomi's, nostrils flare, flanks quiver, and the romance is on. Since both Naomi and Gabe have horses entered in the Kentucky Derby, Kelsey is soon swept into the whirlwind of the Triple Crown, in spite of her family's objections to her reconciliation with the notorious Naomi. The rivalry between the two horse farms remains friendly, but other competitors — one of them is Gabe's father, a vicious alcoholic who resents his son's success — prove less scrupulous. Bodies, horse and human, start piling up, just as Kelsey decides to investigate the murky details of her mother's crime. Is it possible she was framed? The ground is thick with no-goods, including haughty patricians, disgruntled grooms, and jockeys with tragic pasts, but despite all the distractions, the identity of the true culprit behind the mayhem — past and present — remains fairly obvious. The plot lopes rather than races to the finish. Gambling metaphors abound, and sexual doings have a distinctly equine tone. But Roberts's style has a fresh, contemporary snap that gets the story past its own worst excesses.
Pub Date: June 13, 1995
ISBN: 0-399-14059-X
Page Count: 400
Publisher: Putnam
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 15, 1995
Less bleak than the subject matter might warrant—Hannah’s default outlook is sunny—but still, a wrenching depiction of war’s...
The traumatic homecoming of a wounded warrior.
The daughter of alcoholics who left her orphaned at 17, Jolene “Jo” Zarkades found her first stable family in the military: She’s served over two decades, first in the army, later with the National Guard. A helicopter pilot stationed near Seattle, Jo copes as competently at home, raising two daughters, Betsy and Lulu, while trying to dismiss her husband Michael’s increasing emotional distance. Jo’s mettle is sorely tested when Michael informs her flatly that he no longer loves her. Four-year-old Lulu clamors for attention while preteen Betsy, mean-girl-in-training, dismisses as dweeby her former best friend, Seth, son of Jo’s confidante and fellow pilot, Tami. Amid these challenges comes the ultimate one: Jo and Tami are deployed to Iraq. Michael, with the help of his mother, has to take over the household duties, and he rapidly learns that parenting is much harder than his wife made it look. As Michael prepares to defend a PTSD-afflicted veteran charged with Murder I for killing his wife during a dissociative blackout, he begins to understand what Jolene is facing and to revisit his true feelings for her. When her helicopter is shot down under insurgent fire, Jo rescues Tami from the wreck, but a young crewman is killed. Tami remains in a coma and Jo, whose leg has been amputated, returns home to a difficult rehabilitation on several fronts. Her nightmares in which she relives the crash and other horrors she witnessed, and her pain, have turned Jo into a person her daughters now fear (which in the case of bratty Betsy may not be such a bad thing). Jo can't forgive Michael for his rash words. Worse, she is beginning to remind Michael more and more of his homicide client. Characterization can be cursory: Michael’s earlier callousness, left largely unexplained, undercuts the pathos of his later change of heart.
Less bleak than the subject matter might warrant—Hannah’s default outlook is sunny—but still, a wrenching depiction of war’s aftermath.Pub Date: Jan. 31, 2012
ISBN: 978-0-312-57720-9
Page Count: 400
Publisher: St. Martin's
Review Posted Online: Dec. 18, 2011
Kirkus Reviews Issue: Jan. 1, 2012
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