De la Cerda sums it up best: “Being a woman means living in a state of emergency.”
Thirteen “reservoir bitches” tell readers: Sit, stay, escúchame.
Mexican author de la Cerda’s English-language debut, a story collection translated from Spanish by Sanches and Cleary, presents a group of Mexican women facing down danger and tragedy at every turn. The “bitches” are women from different economic backgrounds—drug empire heiress Yuliana struts the streets in Louboutins, and teen mom Stefi works 12-hour shifts at a shoe store—as well as racial backgrounds—blond-haired and blue-eyed Constanza masquerades as a mestiza to aid her husband’s political campaign, and an unnamed narrator seeks revenge on her murderers after being resurrected by a figure from Mexican legend. De la Cerda’s narrators have lived very different, equally important lives, but their voices tend to blend into one another. Most have a similar sense of humor and code of ethics, and many make use of an irreverent tone, colloquial language, and nicknames for the reader, such as “fam,” “queen,” and “amigui” (each of these words appears in its own story—perhaps this is an attempt to distinguish their narrators). These tactics succeed in creating the enchanting feeling that one is sitting across from each narrator, being told their stories as a close confidante. This feeling remains even when we know the narrator is dead—which does not happen just once, but four times. The most prominent theme is the epidemic of femicide, specifically in Mexico. In one of her most powerful moments, de la Cerda writes, “Mexico is a monster that devours women. Mexico is a desert of pulverized bone. Mexico is a graveyard full of pink crosses.” The author’s demand that we bear witness to the senseless murders, in all their gruesomeness, of these bright young women is sobering and commendable. However, the sheer magnitude of loss and injustice displayed here means that the vengeance secured against the perpetrators, which is posed as badass feminist action, feels limp.
De la Cerda sums it up best: “Being a woman means living in a state of emergency.”Pub Date: Sept. 10, 2024
ISBN: 9781558613119
Page Count: 160
Publisher: Feminist Press
Review Posted Online: July 4, 2024
Kirkus Reviews Issue: Aug. 1, 2024
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
SEEN & HEARD
Uneven but fitfully amusing.
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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SEEN & HEARD
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