Beautifully written, emotionally complex, and deeply moving, Castillo's novel reminds us both that stories may be all we...

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AMERICA IS NOT THE HEART

Castillo’s debut novel presents a portrait of the Filipino diaspora, told through the lens of a single family.

Revolving around Hero de Vera—a former rebel (with the scars to prove it) turned au pair of sorts in Milpitas, California—this is a book about identity but even more about standing up for something larger than oneself. The idea is implicit in that name, Hero, though Castillo pushes against our expectations by bestowing it upon a woman fighting patriarchy. Her employer, after all—her sponsor, really—is her uncle Pol, scion of an influential family. For the most part, Castillo tracks Hero’s experiences in the San Francisco Bay Area, highlighting two sustaining relationships: the first with Roni, her uncle’s school-age daughter, and the second with Rosalyn, with whom she falls in love. The most important relationship in the book, however, is the one she develops with herself. It’s not that Castillo is out to write a novel of transformation; Hero is on a journey, certainly, but it’s hard to say, exactly, that the circumstances of her existence change. And yet, this is the point, or one of them, that this sharply rendered work of fiction seeks to address. “She wasn’t killed…or didn’t kill herself,” the character reflects. “Tragedy could be unsensational.” Unsensational, yes—much like daily life. Castillo is a vivid writer, and she has a real voice: vernacular and fluid, with a take-no-prisoners edge. At the same time, she complicates her narrative by breaking out of it in a variety of places—both by deftly incorporating languages such as Tagalog and Ilocano and through the use of flashback or backstory, in which we learn what happened to Hero before she left the Philippines. There are also two second-person chapters (the rest is told in third-person) that further complicate the point of view. Here, we encounter Pol’s wife, Paz, who untangles the intricate ties of family, and Rosalyn, who explains the vagaries of love. Through it all, we have a sense that what we are reading is part of a larger story that stretches beyond the borders of the book. “As usual,” Castillo writes, “you’re getting ahead of yourself, but there isn’t enough road in the world for how ahead of yourself you need to get.”

Beautifully written, emotionally complex, and deeply moving, Castillo's novel reminds us both that stories may be all we have to save us and also that this may never be enough.

Pub Date: April 3, 2018

ISBN: 978-0-7352-2241-0

Page Count: 416

Publisher: Viking

Review Posted Online: March 5, 2018

Kirkus Reviews Issue: March 15, 2018

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With humor and insight, Straub creates a family worth rooting for.

ALL ADULTS HERE

When Astrid Strick witnesses a school bus run over a longtime acquaintance of hers—Barbara Baker, a woman she doesn't like very much—it's only the beginning of the shake-ups to come in her life and the lives of those she loves.

Astrid has been tootling along contentedly in the Hudson Valley town of Clapham, New York, a 68-year-old widow with three grown children. After many years of singlehood since her husband died, she's been quietly seeing Birdie Gonzalez, her hairdresser, for the past two years, and after Barbara's death she determines to tell her children about the relationship: "There was no time to waste, not in this life. There were always more school buses." Elliot, her oldest, who's in real estate, lives in Clapham with his wife, Wendy, who's Chinese American, and their twins toddlers, Aidan and Zachary, who are "such hellions that only a fool would willingly ask for more." Astrid's daughter, Porter, owns a nearby farm producing artisanal goat cheese and has just gotten pregnant through a sperm bank while having an affair with her married high school boyfriend. Nicky, the youngest Strick, is disconcertingly famous for having appeared in an era-defining movie when he was younger and now lives in Brooklyn with his French wife, Juliette, and their daughter, Cecelia, who's being shipped up to live with Astrid for a while after her friend got mixed up with a pedophile she met online. As always, Straub (Modern Lovers, 2016, etc.) draws her characters warmly, making them appealing in their self-centeredness and generosity, their insecurity and hope. The cast is realistically diverse, though in most ways it's fairly superficial; the fact that Birdie is Latina or Porter's obstetrician is African American doesn't have much impact on the story or their characters. Cecelia's new friend, August, wants to make the transition to Robin; that storyline gets more attention, with the two middle schoolers supporting each other through challenging times. The Stricks worry about work, money, sex, and gossip; Straub has a sharp eye for her characters' foibles and the details of their liberal, upper-middle-class milieu.

With humor and insight, Straub creates a family worth rooting for.

Pub Date: May 5, 2020

ISBN: 978-1-59463-469-7

Page Count: 368

Publisher: Riverhead

Review Posted Online: Feb. 10, 2020

Kirkus Reviews Issue: March 1, 2020

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A daring concept not so daringly developed.

THE BOOK OF LONGINGS

In Kidd’s (The Invention of Wings, 2014, etc.) feminist take on the New Testament, Jesus has a wife whose fondest longing is to write.

Ana is the daughter of Matthias, head scribe to Herod Antipas, tetrarch of Galilee. She demonstrates an exceptional aptitude for writing, and Matthias, for a time, indulges her with reed pens, papyri, and other 16 C.E. office supplies. Her mother disapproves, but her aunt, Yaltha, mentors Ana in the ways of the enlightened women of Alexandria, from whence Yaltha, suspected of murdering her brutal husband, was exiled years before. Yaltha was also forced to give up her daughter, Chaya, for adoption. As Ana reaches puberty, parental tolerance of her nonconformity wanes, outweighed by the imperative to marry her off. Her adopted brother, Judas—yes, that Judas—is soon disowned for his nonconformity—plotting against Antipas. On the very day Ana, age 14, meets her prospective betrothed, the repellent Nathanial, in the town market, she also encounters Jesus, a young tradesman, to whom she’s instantly drawn. Their connection deepens after she encounters Jesus in the cave where she is concealing her writings about oppressed women. When Nathanial dies after his betrothal to Ana but before their marriage, Ana is shunned for insufficiently mourning him—and after refusing to become Antipas’ concubine, she is about to be stoned until Jesus defuses the situation with that famous admonition. She marries Jesus and moves into his widowed mother’s humble compound in Nazareth, accompanied by Yaltha. There, poverty, not sexism, prohibits her from continuing her writing—office supplies are expensive. Kidd skirts the issue of miracles, portraying Jesus as a fully human and, for the period, accepting husband—after a stillbirth, he condones Ana’s practice of herbal birth control. A structural problem is posed when Jesus’ active ministry begins—what will Ana’s role be? Problem avoided when, notified by Judas that Antipas is seeking her arrest, she and Yaltha journey to Alexandria in search of Chaya. In addition to depriving her of the opportunity to write the first and only contemporaneous gospel, removing Ana from the main action destroys the novel’s momentum.

A daring concept not so daringly developed.

Pub Date: April 21, 2020

ISBN: 978-0-525-42976-0

Page Count: 432

Publisher: Viking

Review Posted Online: Jan. 27, 2020

Kirkus Reviews Issue: Feb. 15, 2020

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