Insightful, stimulating, and unforgettable tales.

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BIGFOOTS IN PARADISE

In Lawson’s (A Patrimony of Fishes, 1997) short story collection, dynamic characters struggle to stay together or gradually drift apart.

In “The Mushroom Hunter,” a man named Chundo is looking for a rare fungus, but at the heart of the story is the fact that the narrator, Barnaby, idolizes him—a fact that Chundo has used to his advantage for years. Each of these character-driven tales, primarily set in California, astutely examines interpersonal relationships. In “My Year Under the Dog Star,” for example, a man named Scott must deal with the animosity between his fiancee, Kelly, and his venture capitalist father, Ted. Ted gifts Scott with a new dog, but it doesn’t get along with the canine that the couple already have; indeed, the animals are literally at each other’s throats—an apt representation of Ted and Kelly’s dynamic. In the sublime “House on Bear Mountain,” April and her young daughter, Claire, lose husband and father Alec, and they fight to hang on to his lake house, which his brother and sister-in-law believe is rightfully theirs. Although many stories provide at least some humor, the endings are generally somber or unsettling—though certainly memorable. For example, in “Catch the Air,” Gordon’s father, Cris Hogart, once a member of a popular music group, has just turned 75. Although the story initially uses Cris as comic relief, it’s clear by the end that he’s not a happy man. The book concludes with two exceptional tales: “The Beekeeper of Río Momón” and the titular story, which both take truly chilling turns; in the first, characters search for a friend in South America, and in the second, a group goes into the woods to film a staged Bigfoot video. Lawson’s taut, graphic prose sparkles, as in this passage from “House on Bear Mountain”: “The tape clicks into place in the amped-up sound system, and the soundtrack of the movie of Claude’s miserable life begins, sung by a resurrected chorus of 1980s American girl bands.”

Insightful, stimulating, and unforgettable tales.

Pub Date: Nov. 15, 2018

ISBN: 978-1-59709-692-8

Page Count: 214

Publisher: Red Hen Press

Review Posted Online: Jan. 22, 2019

Kirkus Reviews Issue: March 15, 2019

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Kin “[find] each other’s lives inscrutable” in this rich, sharp story about the way identity is formed.

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THE VANISHING HALF

Inseparable identical twin sisters ditch home together, and then one decides to vanish.

The talented Bennett fuels her fiction with secrets—first in her lauded debut, The Mothers (2016), and now in the assured and magnetic story of the Vignes sisters, light-skinned women parked on opposite sides of the color line. Desiree, the “fidgety twin,” and Stella, “a smart, careful girl,” make their break from stultifying rural Mallard, Louisiana, becoming 16-year-old runaways in 1954 New Orleans. The novel opens 14 years later as Desiree, fleeing a violent marriage in D.C., returns home with a different relative: her 8-year-old daughter, Jude. The gossips are agog: “In Mallard, nobody married dark....Marrying a dark man and dragging his blueblack child all over town was one step too far.” Desiree's decision seals Jude’s misery in this “colorstruck” place and propels a new generation of flight: Jude escapes on a track scholarship to UCLA. Tending bar as a side job in Beverly Hills, she catches a glimpse of her mother’s doppelgänger. Stella, ensconced in white society, is shedding her fur coat. Jude, so black that strangers routinely stare, is unrecognizable to her aunt. All this is expertly paced, unfurling before the book is half finished; a reader can guess what is coming. Bennett is deeply engaged in the unknowability of other people and the scourge of colorism. The scene in which Stella adopts her white persona is a tour de force of doubling and confusion. It calls up Toni Morrison’s The Bluest Eye, the book's 50-year-old antecedent. Bennett's novel plays with its characters' nagging feelings of being incomplete—for the twins without each other; for Jude’s boyfriend, Reese, who is trans and seeks surgery; for their friend Barry, who performs in drag as Bianca. Bennett keeps all these plot threads thrumming and her social commentary crisp. In the second half, Jude spars with her cousin Kennedy, Stella's daughter, a spoiled actress.

Kin “[find] each other’s lives inscrutable” in this rich, sharp story about the way identity is formed.

Pub Date: June 2, 2020

ISBN: 978-0-525-53629-1

Page Count: 352

Publisher: Riverhead

Review Posted Online: March 15, 2020

Kirkus Reviews Issue: April 1, 2020

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An exuberant comic opera set to the music of life.

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DEACON KING KONG

The versatile and accomplished McBride (Five Carat Soul, 2017, etc.) returns with a dark urban farce crowded with misjudged signals, crippling sorrows, and unexpected epiphanies.

It's September 1969, just after Apollo 11 and Woodstock. In a season of such events, it’s just as improbable that in front of 16 witnesses occupying the crowded plaza of a Brooklyn housing project one afternoon, a hobbling, dyspeptic, and boozy old church deacon named Cuffy Jasper "Sportcoat" Lambkin should pull out a .45-caliber Luger pistol and shoot off an ear belonging to the neighborhood’s most dangerous drug dealer. The 19-year-old victim’s name is Deems Clemens, and Sportcoat had coached him to be “the best baseball player the projects had ever seen” before he became “a poison-selling murderous meathead.” Everybody in the project presumes that Sportcoat is now destined to violently join his late wife, Hettie, in the great beyond. But all kinds of seemingly disconnected people keep getting in destiny's way, whether it’s Sportcoat’s friend Pork Sausage or Potts, a world-weary but scrupulous white policeman who’s hoping to find Sportcoat fast enough to protect him from not only Deems’ vengeance, but the malevolent designs of neighborhood kingpin Butch Moon. All their destines are somehow intertwined with those of Thomas “The Elephant” Elefante, a powerful but lonely Mafia don who’s got one eye trained on the chaos set off by the shooting and another on a mysterious quest set in motion by a stranger from his crime-boss father’s past. There are also an assortment of salsa musicians, a gentle Nation of Islam convert named Soup, and even a tribe of voracious red ants that somehow immigrated to the neighborhood from Colombia and hung around for generations, all of which seems like too much stuff for any one book to handle. But as he's already shown in The Good Lord Bird (2013), McBride has a flair for fashioning comedy whose buoyant outrageousness barely conceals both a steely command of big and small narrative elements and a river-deep supply of humane intelligence.

An exuberant comic opera set to the music of life.

Pub Date: March 3, 2020

ISBN: 978-0-7352-1672-3

Page Count: 384

Publisher: Riverhead

Review Posted Online: Dec. 9, 2019

Kirkus Reviews Issue: Jan. 1, 2020

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