by Corey Mesler Amos Jasper Wright ‧ RELEASE DATE: N/A
A bristling, lurching, and often insightful investigation of the past.
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Wright’s experimental novel meditates on history and racism in the Deep South.
Welcome to Louisiana. This “Sportsman’s Paradise,” as the state motto has it, is a land with a complicated past, from its slave trade to the Battle of New Orleans during the War of 1812 to its showcasing, and later removal, of a statue of Confederate Gen. Robert E. Lee. This fictional journey begins around 2016 in Baton Rouge, the state capital, named after a “red stick” that was once used to demarcate a border. It’s home to a section called Standard Heights, a neighborhood that was once “a company town built for workers by Standard Oil at the turn of the last century.” Many streets in the neighborhood are named after Native American nations—which is odd, given past violence against them by white settlers. Its proximity to what is now a large ExxonMobil plant makes it less-than-prime real estate. It’s also a place that was once home to a man named Toussaint; the pollution was so bad when he was growing up there that his father wouldn’t allow the opening of any windows in the family home. As the narrator, a writer on an unusual quest, converses with Toussaint, the story becomes a personalized tour of Southern injustice. Items for discussion include everything from The Negro Motorist Green Book and lynching postcards to the 2017 Floyd Mayweather-Connor McGregor boxing match. The narrator eventually makes it to New Orleans in time to see the removal of the Lee statue; he reveals that he, himself, is a distant relative to an infamous historical figure. A photo of that man is included, among other images, such as of a crumbling interior of the abandoned Charity Hospital in New Orleans. It all amounts to a collage-like look at America’s troubling past.
Wright’s novel progresses in a concentrated but rather plotless manner in long, dense sentences. The ExxonMobil site in Baton Rouge is described as “a city-state unto itself with its own body of rules and oral traditions maintained by an order of petrochemical priests.” Toussaint speaks of how he “summoned the catawampus courage to overcome the trepidation and the taboo, which had gripped me for years” against opening windows at home. The work abounds with such slow, poetic lines, and their tone works best when guiding readers through lesser-known aspects of the past. For instance, a floodgate system called the Spillway is described, intriguingly enough, as only having been opened 11 times. Yet the work’s unrelenting earnestness can make for some jarring moments that may take readers out of the story, as when Toussaint’s father is said to have taken him to watch the Spillway opening one spring so that he would “fear death by water,” and the aforementioned boxing match is sold as a racial conflict with “white frat-bro types and their blonde ratchets, pumping fists and cheering for McGregor to whipsaw Mayweather.” That said, although the work’s examination of history is unsubtle, readers will be left with more than a few uncomfortable emotions to mull over.
A bristling, lurching, and often insightful investigation of the past.Pub Date: N/A
ISBN: 9781604893434
Page Count: 345
Publisher: Livingston Press
Review Posted Online: May 23, 2023
Review Program: Kirkus Indie
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by Fredrik Backman ; translated by Neil Smith ‧ RELEASE DATE: May 6, 2025
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
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by Fredrik Backman translated by Neil Smith
BOOK REVIEW
BOOK REVIEW
by Fredrik Backman ; translated by Neil Smith
by Alison Espach ‧ RELEASE DATE: July 30, 2024
Uneven but fitfully amusing.
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New York Times Bestseller
Betrayed by her husband, a severely depressed young woman gets drawn into the over-the-top festivities at a lavish wedding.
Phoebe Stone, who teaches English literature at a St. Louis college, is plotting her own demise. Her husband, Matt, has left her for another woman, and Phoebe is taking it hard. Indeed, she's determined just where and how she will end it all: at an oceanfront hotel in Newport, where she will lie on a king-sized canopy bed and take a bottle of her cat’s painkillers. At the hotel, Phoebe meets bride-to-be Lila, a headstrong rich girl presiding over her own extravagant six-day wedding celebration. Lila thought she had booked every room in the hotel, and learning of Phoebe's suicidal intentions, she forbids this stray guest from disrupting the nuptials: “No. You definitely can’t kill yourself. This is my wedding week.” After the punchy opening, a grim flashback to the meltdown of Phoebe's marriage temporarily darkens the mood, but things pick up when spoiled Lila interrupts Phoebe's preparations and sweeps her up in the wedding juggernaut. The slide from earnest drama to broad farce is somewhat jarring, but from this point on, Espach crafts an enjoyable—if overstuffed—comedy of manners. When the original maid of honor drops out, Phoebe is persuaded, against her better judgment, to take her place. There’s some fun to be had here: The wedding party—including groom-to-be Gary, a widower, and his 11-year-old daughter—takes surfing lessons; the women in the group have a session with a Sex Woman. But it all goes on too long, and the humor can seem forced, reaching a low point when someone has sex with the vintage wedding car (you don’t want to know the details). Later, when two characters have a meet-cute in a hot tub, readers will guess exactly how the marriage plot resolves.
Uneven but fitfully amusing.Pub Date: July 30, 2024
ISBN: 9781250899576
Page Count: 384
Publisher: Henry Holt
Review Posted Online: Sept. 13, 2024
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