by Eldot ‧ RELEASE DATE: Oct. 17, 2020
Another overly busy but nonetheless memorable snapshot of LGBTQ+ high school life in a bygone era.
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The continuing saga of a resilient gay high schooler’s adolescent adventures.
Prolific author Eldot picks up where You’re in High School Now (2015) left off, with young North Carolina high school sophomore Julian Forrest facing new feelings and challenges in late 1962. The author again succeeds in establishing the era in which his protagonist’s youth plays out amid themes of inclusivity, friendship, burgeoning sexuality, and the precarious state of race relations during the school desegregation movement of the mid-20th century. Eldot imparts many life lessons over the course of the narrative; the first is that focused dedication to one’s schoolwork will not only garner one good grades, but also beneficial recognition from instructors when one least expects it. Julian’s consistently pleasant demeanor, personal flair, and conscientious, hard work make his teachers think of him as a model student. His rare, enviable qualities draw the attention of several teachers who believe he would make an ideal helper for an incoming Black student named Kassa “Kasey” Wood. The son of a prominent Boston scientist, Kasey is a polite, friendly, and impressively talented young pianist who comes to appreciate the time that Julian devotes to helping him adjust to a new town, a new school, and new classmates; in a compelling sequence, Julian even insists on racial equality at a segregated “whites-only” diner. The relationship between these two characters would be sufficient to carry the entire novel, but Eldot has grander visions in mind, carried out by a parade of peripheral teenage characters who take their turns marching through the novel.
Their storylines—some fleeting, some with greater staying power—definitely add some panache to the tale and enliven what becomes a rather overlong tome, as it extends to nearly 600 pages in length. Readers will likely want Julian, a budding artist, and pianist extraordinaire Kasey to remain at center stage, and they often do. However, they’re upstaged much too often by other scenes concerned with randy camping adventures, fart jokes, or extended family melodrama. The omniscient third-person narration is often dryly humorous, but the book also explores Julian and Kasey’s friendship through the eyes of folks who know very little about them. This narrative twist affords readers a look at what it’s like to be observed and blindly judged by casual strangers. As with the other books in this series, the author doesn’t ever shy away from the nuances of sexual attraction, which plays a particularly substantial role in Julian’s young life. The teens’ flirtations and overt physical carnality are portrayed as unashamed and innocently exploratory; they show the characters to be primarily concerned with mutual, guiltless pleasure but also fully aware of the necessity of social discretion in that time and place. Although the narrative does feel extravagantly expository at times, its overall sense of social consciousness is remarkable. A concluding, expansive glossary, filled with historical references to the 1960s, will be helpful for newcomers to the setting.
Another overly busy but nonetheless memorable snapshot of LGBTQ+ high school life in a bygone era.Pub Date: Oct. 17, 2020
ISBN: 978-1-7328805-5-9
Page Count: 708
Publisher: Diphra Enterprises
Review Posted Online: Sept. 29, 2020
Kirkus Reviews Issue: Nov. 15, 2020
Review Program: Kirkus Indie
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by Eldot
by Richard Wright ‧ RELEASE DATE: April 20, 2021
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.
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A falsely accused Black man goes into hiding in this masterful novella by Wright (1908-1960), finally published in full.
Written in 1941 and '42, between Wright’s classics Native Son and Black Boy, this short novel concerns Fred Daniels, a modest laborer who’s arrested by police officers and bullied into signing a false confession that he killed the residents of a house near where he was working. In a brief unsupervised moment, he escapes through a manhole and goes into hiding in a sewer. A series of allegorical, surrealistic set pieces ensues as Fred explores the nether reaches of a church, a real estate firm, and a jewelry store. Each stop is an opportunity for Wright to explore themes of hope, greed, and exploitation; the real estate firm, Wright notes, “collected hundreds of thousands of dollars in rent from poor colored folks.” But Fred’s deepening existential crisis and growing distance from society keep the scenes from feeling like potted commentaries. As he wallpapers his underground warren with cash, mocking and invalidating the currency, he registers a surrealistic but engrossing protest against divisive social norms. The novel, rejected by Wright’s publisher, has only appeared as a substantially truncated short story until now, without the opening setup and with a different ending. Wright's take on racial injustice seems to have unsettled his publisher: A note reveals that an editor found reading about Fred’s treatment by the police “unbearable.” That may explain why Wright, in an essay included here, says its focus on race is “rather muted,” emphasizing broader existential themes. Regardless, as an afterword by Wright’s grandson Malcolm attests, the story now serves as an allegory both of Wright (he moved to France, an “exile beyond the reach of Jim Crow and American bigotry”) and American life. Today, it resonates deeply as a story about race and the struggle to envision a different, better world.
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.Pub Date: April 20, 2021
ISBN: 978-1-59853-676-8
Page Count: 240
Publisher: Library of America
Review Posted Online: March 16, 2021
Kirkus Reviews Issue: April 1, 2021
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BOOK TO SCREEN
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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SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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