A unique, poignant, and slightly taboo novel about family, biology, and evolution.
In the wake of their father’s death, two half siblings confront their pasts and try to rewrite their futures.
Hauser (The From-Aways, 2014) returns with a strange and heartbreaking novel about what it means to be a family. When their estranged father, Dr. Ian Grey, drowns while conducting research, adult half siblings Elsa and Nolan Grey are brought together for the first time in years. Ian, along with other peculiar scientists and researchers, lived on Leap’s Island in the Gulf of Mexico, where he studied the undowny bufflehead, a duck species that seems to be evolving backwards. Before his death, Ian had become obsessed with one duck, Duck Number Twelve or the Paradise Duck, which he described as “a freak among its peers.” Traveling to Leap’s Island, the half siblings hope to gather Ian’s possessions and find answers to their lingering questions. Elsa believes Ian committed suicide, but Nolan is adamant he didn’t. They both wonder if their own failures, inadequacies, and mistakes caused their father to withdraw from the world. Elsa and Nolan must also grapple with their fraught relationship—full of taboos, secrets, and abandonment issues. Playing with time, memory, and point of view, the novel is structurally ambitious, though sometimes to its own detriment. Its strongest parts are its ruminations on the Grey family dynamics, so the portraits of the islanders feel expendable. Hauser's ability to render the complexities of family relationships with radical honesty is a feat. When Elsa thinks back on her childhood, Hauser writes, “her father had been taken from her over and over again, and Elsa was tired of coming up with new ways to suffer in his absence.” A lesser writer would not be able to deliver the disturbing and weird with the grace that Hauser does.
A unique, poignant, and slightly taboo novel about family, biology, and evolution.Pub Date: July 16, 2019
ISBN: 978-0-385-54462-7
Page Count: 304
Publisher: Doubleday
Review Posted Online: April 13, 2019
Kirkus Reviews Issue: May 1, 2019
BOOK REVIEW
BOOK REVIEW
You will never forget Shuggie Bain. Scene by scene, this book is a masterpiece.
Alcoholism brutally controls the destiny of a beautiful woman and her children in working-class Scotland.
The way Irvine Welsh’s Trainspottingcarved a permanent place in our heads and hearts for the junkies of late-1980s Edinburgh, the language, imagery, and story of fashion designer Stuart’s debut novel apotheosizes the life of the Bain family of Glasgow. Stunning, raven-haired Agnes Bain is often compared to Elizabeth Taylor. When we meet her in 1981, she’s living with her parents and three “weans” in a crowded high-rise flat in a down-and-out neighborhood called Sighthill. Her second husband, Hugh "Shug" Bain, father of her youngest, Shuggie, is a handsome taxi driver with a philandering problem that is racing alongside Agnes’ drinking problem to destroy their never-very-solid union. In indelible, patiently crafted vignettes covering the next 11 years of their lives, we watch what happens to Shuggie and his family. Stuart evokes the experience of each character with unbelievable compassion—Agnes; her mother, Lizzie; Shug; their daughter, Catherine, who flees the country the moment she can; artistically gifted older son Leek; and the baby of the family, Shuggie, bullied and outcast from toddlerhood for his effeminate walk and manner. Shuggie’s adoration of his mother is the light of his life, his compass, his faith, embodied in his ability to forgive her every time she resurrects herself from a binge: “She was no use at maths homework, and some days you could starve rather than get a hot meal from her, but Shuggie looked at her now and understood this was where she excelled. Everyday with the make-up on and her hair done, she climbed out of her grave and held her head high. When she had disgraced herself with drink, she got up the next day, put on her best coat, and faced the world. When her belly was empty and her weans were hungry, she did her hair and let the world think otherwise.” How can love be so powerful and so helpless at the same time? Readers may get through the whole novel without breaking down—then read the first sentence of the acknowledgements and lose it. The emotional truth embodied here will crack you open.
You will never forget Shuggie Bain. Scene by scene, this book is a masterpiece.Pub Date: Feb. 11, 2020
ISBN: 978-0-8021-4804-9
Page Count: 416
Publisher: Grove
Review Posted Online: Oct. 13, 2019
Kirkus Reviews Issue: Nov. 1, 2019
BOOK REVIEW
PERSPECTIVES
PERSPECTIVES
In a neighborhood where pain—"adult pain that rested somewhere under the eyelids"—is as pervasively omnipresent as the loveliness of May's green shade trees, death and its omens can be accepted as another face of God. But in the closed black community of the high hill overlooking a white Ohio town, there are two who stand outside the defensive webs of familial interdependence. There is mad Shadrach, victim of World War I, who defies death's capricious obscenity by ringing his bell for National Suicide Day every year—and one year he has some takers. And Sula, who will die, not like "other colored girls" rotting like a stump, but falling "like a redwood." For she is the product of a "household of throbbing disorder" and had learned isolation and the "meaningless of responsibility" early when she accidentally caused the drowning of a little boy. Intemperate, restless, Sula had some of the arrogance of her one-legged grandmother Eva. It was Eva who had long ago pondered the meaning of love when she used her only food (lard scrapings) to cure her baby boy's bellyache; yet when her son was a man, regressing to the womb of drugs, she burnt him to death. Sula also watched her mother die in flames, conscious only that she wanted the dying dance to go on. She left the village and returns to become the community's unifying evil—but will the people eventually love one who stood against the sky? Miss Morrison, author of The Bluest Eye (1970), in her deceptively gentle narrative, her dialogue that virtually speaks from the page, and her multilayered perceptions drawn through the needle's eye of any consciousness she creates, is undoubtedly a major and formidable talent, and this is an impressive second novel.
Pub Date: Jan. 1, 1973
ISBN: 0375415351
Page Count: 174
Publisher: Knopf
Review Posted Online: Sept. 30, 2011
Kirkus Reviews Issue: Jan. 1, 1973
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
BOOK TO SCREEN
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