A perceptive and entrancing meditation on friendship and family, love and forgiveness.
In this debut, May (Fiction Writing/Columbia College Chicago) walks the streets of Parkland on Chicago’s South Side, exploring race, community and religion.
May writes of a town settled by African-Americans fleeing Jim Crow’s South. 1990s Parkland is a stable, middle-class community, with hardworking families long acquainted, each house known to all; redbrick two-flats, large wooden foursquares. May writes of Mrs. Motley, a retired school librarian and insurance agent’s widow, with a son in the Army, stationed at Fort Sill; Mr. Davenport, a teacher and block-club president; Erma Smedley, divorced, beautiful enough that "the men perked up," who is hiding a secret; the Powells and Hicks; and 1960s radical Mrs. Butler, raising grandson Reggie. The familiar tranquility is fractured by Gerald "Stew Pot" Reeves, still young after nearly half a lifetime of imprisonment. Under the prison tutelage of Brother Crown, Stew Pot’s seen "The Light," and he’s intent on exposing the devil in Parkland. Stew Pot’s witnessing soon flames into jeremiads, and as he exposes hidden transgressions, Parkland’s perception of him changes "from the weird-but-harmless category to the crazy-dangerous-hot-list." Stew Pot discovers Erma is a "lesbianite." Erma’s shamed and flees. Stew Pot drives the Davenports away and then frightens Mrs. Hicks, who later dies after collapsing from heatstroke. May writes with meticulous detail, seemingly tedious in listing clothing, houses, shops and churches, but as the complex saga unfolds, his detailed viewpoint lends credence to the humanity of Parkland’s people. Stew Pot’s exposure of secrets causes lifelong friendships to implode, and in a misdirected strike at Stew Pot, Mrs. Motley’s treasured home is burned. With wounded veteran Mr. McTeer and Alderman Vernon Paiger as suitors, May’s Mrs. Motley is a superbly rendered, evolving character and the narrative’s heart: intent on dignified kindness and generosity, on propriety and perspective, yet plagued by unintended consequences and forced to ask herself, "what do you say to the pain of someone who felt horribly wronged by your right?"
A perceptive and entrancing meditation on friendship and family, love and forgiveness.Pub Date: March 4, 2014
ISBN: 978-1-61775-196-7
Page Count: 420
Publisher: Akashic
Review Posted Online: Nov. 2, 2013
Kirkus Reviews Issue: Nov. 15, 2013
But John Steinbeck, the philosopher, dominates his material and brings it into sharply moral focus.
Tremendous in scope—tremendous in depth of penetration—and as different a Steinbeck as the Steinbeck of Burning Bright was from the Steinbeck of The Grapes of Wrath.
Here is no saga of the underprivileged—no drama of social significance. Tenderness, which some felt was inherent in everything Steinbeck wrote, is muted almost to the vanishing point in this story of conflict within character, impact of character on character, of circumstances on personalities, of the difficult acceptance of individual choice as against the dominance of inherited traits. The philosophy is intimately interwoven with the pace of story, as he follows-from New England to California over some fifty odd years-the two families which hold stage center. There are the Trasks, brothers in two generations, strangely linked, strangely at war the one with the other; there are the Hamiltons (John Steinbeck's own forebears), a unique Irish born couple, the man an odd lovable sort of genius who never capitalizes on his ideas for himself, the tiny wife, tart, cold-and revealing now and again unexpected gentleness of spirit, the burgeoning family, as varied a tribe as could be found. And- on the periphery but integral to the deepening philosophy which motivates the story, there is the wise Chinese servant scholar and gentleman, who submerges his own goals to identify himself wholly with the needs of the desolate Adam Trask, crushed by his soulless wife's desertion, and the twin boys, Cal, violent, moody, basically strong enough to be himself—and Aron, gentle, unwilling to face disagreeable facts, beloved by all who met him. In counterpoint, the story follows too the murky career of Adam's wife, Cathy—who came to him from a mysteriously clouded past, and returned to a role for which she was suited—as a costly whore, and later as Madame in Salinas most corrupt "house," where the perversions of sex ridden males were catered to—and cruelty capitalized upon.Shock techniques applied with rapier and not bludgeon will rule the book out for the tender-skinned.
But John Steinbeck, the philosopher, dominates his material and brings it into sharply moral focus.Pub Date: Sept. 19, 1952
ISBN: 0142004235
Page Count: 616
Publisher: Viking
Review Posted Online: Oct. 5, 2011
Kirkus Reviews Issue: Sept. 1, 1952
BOOK TO SCREEN
BOOK TO SCREEN
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...
An amazingly intricate and ambitious first novel - ten years in the making - that puts an engrossing new spin on the traditional haunted-house tale.
Texts within texts, preceded by intriguing introductory material and followed by 150 pages of appendices and related "documents" and photographs, tell the story of a mysterious old house in a Virginia suburb inhabited by esteemed photographer-filmmaker Will Navidson, his companion Karen Green (an ex-fashion model), and their young children Daisy and Chad. The record of their experiences therein is preserved in Will's film The Davidson Record - which is the subject of an unpublished manuscript left behind by a (possibly insane) old man, Frank Zampano - which falls into the possession of Johnny Truant, a drifter who has survived an abusive childhood and the perverse possessiveness of his mad mother (who is institutionalized). As Johnny reads Zampano's manuscript, he adds his own (autobiographical) annotations to the scholarly ones that already adorn and clutter the text (a trick perhaps influenced by David Foster Wallace's Infinite Jest) - and begins experiencing panic attacks and episodes of disorientation that echo with ominous precision the content of Davidson's film (their house's interior proves, "impossibly," to be larger than its exterior; previously unnoticed doors and corridors extend inward inexplicably, and swallow up or traumatize all who dare to "explore" their recesses). Danielewski skillfully manipulates the reader's expectations and fears, employing ingeniously skewed typography, and throwing out hints that the house's apparent malevolence may be related to the history of the Jamestown colony, or to Davidson's Pulitzer Prize-winning photograph of a dying Vietnamese child stalked by a waiting vulture. Or, as "some critics [have suggested,] the house's mutations reflect the psychology of anyone who enters it."
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly. One of the most impressive excursions into the supernatural in many a year.Pub Date: March 6, 2000
ISBN: 0-375-70376-4
Page Count: 704
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2000
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