A heart-wrenching and poetic look at a profession that deserves more literary attention.
A London pediatric nurse struggles not to let her job consume her.
Laura is trying to make it through a week of night shifts at the hospital children’s ward. She has time off coming up, if she can just fight her way through the exhaustion to get there. But as the novel begins, Laura’s world is falling apart. The man she lives with—addressed throughout in the second person—has become standoffish and irritable; the fact that they work opposite shifts doesn’t help the drift between them. At work, a baby’s health worsens rapidly, and Laura has to navigate the minefield of patients, their families, the doctors and other nurses she works with, and a cluelessly cheerful med student. She is beset by poor sleep and haunted by nightmares. Worst of all, she is seeing things: a woman in black like the specter of death itself, appearing in the Tube, the hospital, and in Laura’s dreams. As things continue to deteriorate, Laura is less and less sure that her nightmare, waking or otherwise, will ever end. Readers familiar with Glass’ debut novel, Peach (2018), will recognize her inimitable style here: elliptical and lyric with an intense interiority. Glass wants readers inside Laura’s body, tasting seawater in her nightmares of drowning, feeling her limb-heaviness as she falls asleep at a friend’s kitchen table. Such richness makes all of Glass’ writing stand out, but this glimpse into the world of nursing feels like a true literary rarity. Glass, a nurse herself, takes both standard nursing tropes and revelations about the work and brings them all to shimmering life. “We are cotton buds sucking up the sadness of others,” Laura says of nurses, “we are saturated, we are saviors.”
A heart-wrenching and poetic look at a profession that deserves more literary attention.Pub Date: Dec. 1, 2020
ISBN: 978-1-52660-107-0
Page Count: 160
Publisher: Bloomsbury
Review Posted Online: Aug. 3, 2020
Kirkus Reviews Issue: Aug. 15, 2020
BOOK REVIEW
PERSPECTIVES
PROFILES
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.
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
BOOK TO SCREEN
An uncompromising message, delivered via a gripping story with two engaging heroines.
An undergraduate at Brown University unearths the buried history of a Latine artist.
As in her bestselling debut, Olga Dies Dreaming (2022), Gonzalez shrewdly anatomizes racial and class hierarchies. Her bifurcated novel begins at a posh art-world party in 1985 as the title character, a Cuban American land and body artist, garners recognition that threatens the ego of her older, more famous husband, white minimalist sculptor Jack Martin. The story then shifts to Raquel Toro, whose working-class, Puerto Rican background makes her feel out of place among the “Art History Girls” who easily chat with professors and vacation in Europe. Nonetheless, in the spring of 1998, Raquel wins a prestigious summer fellowship at the Rhode Island School of Design, and her faculty adviser is enthusiastic about her thesis on Jack Martin, even if she’s not. Soon she’s enjoying the attentions of Nick Fitzsimmons, a well-connected, upper-crust senior. As Raquel’s story progresses, Anita’s first-person narrative acquires a supernatural twist following the night she falls from the window of their apartment —“jumped? or, could it be, pushed?”—but it’s grimly realistic in its exploration of her toxic relationship with Jack. (A dedication, “In memory of Ana,” flags the notorious case of sculptor Carl Andre, tried and acquitted for the murder of his wife, artist Ana Mendieta.) Raquel’s affair with Nick mirrors that unequal dynamic when she adapts her schedule and appearance to his whims, neglecting her friends and her family in Brooklyn. Gonzalez, herself a Brown graduate, brilliantly captures the daily slights endured by someone perceived as Other, from microaggressions (Raquel’s adviser refers to her as “Mexican”) to brutally racist behavior by the Art History Girls. While a vividly rendered supporting cast urges Raquel to be true to herself and her roots, her research on Martin leads to Anita’s art and the realization that she belongs to a tradition that’s been erased from mainstream art history.
An uncompromising message, delivered via a gripping story with two engaging heroines.Pub Date: March 5, 2024
ISBN: 9781250786210
Page Count: 352
Publisher: Flatiron Books
Review Posted Online: Nov. 18, 2023
Kirkus Reviews Issue: Dec. 15, 2023
BOOK REVIEW
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