A compelling novel about queer identity and the sins that continue to haunt the American project.
A lush, provocative, and thought-provoking story of queer identity at the intersection of art, family history, capitalism, and the American racial order.
Peck (Visions and Revisions, 2015, etc.) tells the story of Judas, a scion of the fallen Stammers clan. The Stammers were once a family of Southern patricians who built a fortune on their coal empire—which means their wealth was bound up in the twin sins of slavery and environmental destruction. Like a protagonist in a Greek play, Judas pays the price for his ancestors' sins: A birth defect renders his body mangled, making him the visual representation of the Stammers' historic crimes. In an apartment near the cultish Academy that his great-grandfather Marcus founded to repent for the family's use of slave labor, Judas lives with his neglectful mother, Dixie, a talented artist whose ceramic pots are worth thousands. Consumed by the sudden eruption of his sexual appetite, Judas goes to elaborate lengths to satisfy his desire for his black classmates at the Academy. Meanwhile, in the shadow of Dixie's fame, he struggles to discover the identity of his absent father. When that missing father's books suddenly begin arriving at his and Dixie's home en masse, Judas begins to explore his family's entanglement with America's original sins. While this novel finds Peck concerned with the nation's historic debts, it is anything but serious. Judas is an irreverent, erudite, and deviously funny narrator, and the book reflects his loquacious charm with ornate prose that is downright Nabokov-ian in its exuberance, abounds in clever wordplay, malapropisms, and dense descriptive passages. Describing a creek's annual transformation from a trickle to a shallow river, Judas unleashes a torrent of florid language that reflects the creek's power: "The sheet of water lay on the land for five or six weeks, reflecting so vast a swath of sky that, staring into it from one of the third-floor windows, you could get disoriented and think you were tumbling into Heaven's opened vault." But like Judas, the book also delights in testing the reader's patience for disgustingly detailed descriptions of filth. Describing a rest stop where he seeks out anonymous sex with other men, Judas describes a repulsive scene: "[Feces] was visible everywhere, from the floaters dissolving in tea-colored water to the tread marks on the cracked tile to the smears fingerpainted on the stall by someone who found himself without toilet paper or, who knows, just didn't want to use any." In juxtaposing pristine paeans to nature with such nauseating scenes, Peck creates a sense of how thin the line between beauty and depravity is.
A compelling novel about queer identity and the sins that continue to haunt the American project.Pub Date: Aug. 14, 2018
ISBN: 978-1-61695-780-3
Page Count: 264
Publisher: Soho
Review Posted Online: July 1, 2018
Kirkus Reviews Issue: July 15, 2018
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s...
The acclaimed author of The Underground Railroad (2016) follows up with a leaner, meaner saga of Deep South captivity set in the mid-20th century and fraught with horrors more chilling for being based on true-life atrocities.
Elwood Curtis is a law-abiding, teenage paragon of rectitude, an avid reader of encyclopedias and after-school worker diligently overcoming hardships that come from being abandoned by his parents and growing up black and poor in segregated Tallahassee, Florida. It’s the early 1960s, and Elwood can feel changes coming every time he listens to an LP of his hero Martin Luther King Jr. sermonizing about breaking down racial barriers. But while hitchhiking to his first day of classes at a nearby black college, Elwood accepts a ride in what turns out to be a stolen car and is sentenced to the Nickel Academy, a juvenile reformatory that looks somewhat like the campus he’d almost attended but turns out to be a monstrously racist institution whose students, white and black alike, are brutally beaten, sexually abused, and used by the school’s two-faced officials to steal food and supplies. At first, Elwood thinks he can work his way past the arbitrary punishments and sadistic treatment (“I am stuck here, but I’ll make the best of it…and I’ll make it brief”). He befriends another black inmate, a street-wise kid he knows only as Turner, who has a different take on withstanding Nickel: “The key to in here is the same as surviving out there—you got to see how people act, and then you got to figure out how to get around them like an obstacle course.” And if you defy them, Turner warns, you’ll get taken “out back” and are never seen or heard from again. Both Elwood’s idealism and Turner’s cynicism entwine into an alliance that compels drastic action—and a shared destiny. There's something a tad more melodramatic in this book's conception (and resolution) than one expects from Whitehead, giving it a drugstore-paperback glossiness that enhances its blunt-edged impact.
Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s novel displays its author’s facility with violent imagery and his skill at weaving narrative strands into an ingenious if disquieting whole.Pub Date: July 16, 2019
ISBN: 978-0-385-53707-0
Page Count: 224
Publisher: Doubleday
Review Posted Online: Jan. 20, 2019
Kirkus Reviews Issue: Feb. 1, 2019
PERSPECTIVES
SEEN & HEARD
SEEN & HEARD
A novel of horrific beauty, where death is the only truth.
Even within the author’s extraordinary body of work, this stands as a radical achievement, a novel that demands to be read and reread.
McCarthy (No Country for Old Men, 2005, etc.) pushes his thematic obsessions to their extremes in a parable that reads like Night of the Living Dead as rewritten by Samuel Beckett. Where much of McCarthy’s fiction has been set in the recent past of the South and West, here he conjures a nightmare of an indeterminate future. A great fire has left the country covered in layers of ash and littered with incinerated corpses. Foraging through the wasteland are a father and son, neither named (though the son calls the father “Papa”). The father dimly remembers the world as it was and occasionally dreams of it. The son was born on the cusp of whatever has happened—apocalypse? holocaust?—and has never known anything else. His mother committed suicide rather than face the unspeakable horror. As they scavenge for survival, they consider themselves the “good guys,” carriers of the fire, while most of the few remaining survivors are “bad guys,” cannibals who eat babies. In order to live, they must keep moving amid this shadowy landscape, in which ashes have all but obliterated the sun. In their encounters along their pilgrimage to the coast, where things might not be better but where they can go no further, the boy emerges as the novel’s moral conscience. The relationship between father and son has a sweetness that represents all that’s good in a universe where conventional notions of good and evil have been extinguished. Amid the bleakness of survival—through which those who wish they’d never been born struggle to persevere—there are glimmers of comedy in an encounter with an old man who plays the philosophical role of the Shakespearean fool. Though the sentences of McCarthy’s recent work are shorter and simpler than they once were, his prose combines the cadence of prophecy with the indelible images of poetry.
A novel of horrific beauty, where death is the only truth.Pub Date: Oct. 2, 2006
ISBN: 0-307-26543-9
Page Count: 288
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 2006
PERSPECTIVES
IN THE NEWS
SEEN & HEARD
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