A tragicomic debut by an impressive new voice.
A young mortuary cosmetologist seeks a balm for her own grief in the world of BDSM.
Amelia Aurelia loves her job. As the cosmetologist in the family-run Aurelia’s Funeral Parlour on the Australian coast, she is part of a well-oiled machine that seeks to provide burial services for the dead and the solace of a perfect funeral experience for the living. “As I brush makeup across Jennifer’s face,” Amelia thinks as she attends to a young woman who has committed suicide, “I wish I could tell her…how important it is for her people to see her like this, how they need to witness this image of her at peace before they can begin to feel peace themselves.” As good as she is at her job, however, Amelia knows that working so closely with grief takes an emotional toll that she seeks to address through daily, more-or-less anonymous sexual encounters with men who will “move [her] out of [her] head and into [her] body [and] fill [her] up with physical feeling to the point where emotions and thoughts [are] wrung out.” In this way, Amelia has created a fragile but working equilibrium, but when her wildly affectionate mother dies in a sudden accident, all of Amelia’s carefully built boundaries come tumbling down. Reeling with grief, she flees from her flamboyant stepfather, Vincent, her polyamorous brother, Simon, and her mother’s best friend, the irrepressible mortuary receptionist Judy, on the day before her mother’s funeral to stay with her emotionally distant biological father, Jack, at his isolated home in Tasmania. While there, Amelia falls into the BDSM scene, first as a sub taking part in an onstage pain scene, and then at the local kink club, the Widow Maker, where she begins her training as a domme. In both roles, Amelia struggles to manage her overwhelming grief as she moves through the rawest phases of her trauma and into the long, slow settling that comes after. At turns a rollicking sexual romp almost slapstick in its intensity and an existential meditation filled with the languid profundity of bodies at their final rest, this unusual novel navigates the most treacherous of emotional territories—the fault lines between love and grief, sex and death—with a deliberate lack of grace and real charm.
A tragicomic debut by an impressive new voice.Pub Date: Feb. 15, 2022
ISBN: 978-1-953387-12-7
Page Count: 212
Publisher: Two Dollar Radio
Review Posted Online: Dec. 14, 2021
Kirkus Reviews Issue: Jan. 1, 2022
BOOK REVIEW
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
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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