A well-balanced comic tale that deftly grapples with larger contemporary themes.
In this debut novel, a pair of brothers weathers the changing fortunes of a failing New England town.
Pennacook, Massachusetts, has seen better days: “What they’d soon call the Great Recession had just unmasked itself to the world, but it seemed to have gotten a head start here.” The depressed mill town’s affordability is why Ray Markham chose to settle there five years ago, after his parents were killed in a car accident and the recent high school graduate became the legal guardian of his younger brother, Patrick. Since then, Ray has worked at the deli counter of the local chain grocery store, Bounty Bag, while Patrick has made his way through the town’s not-so-good public school system. Bounty Bag happens to be the largest employer and the primary landowner in Pennacook. (The chain may also be partially responsible for the town’s substantial population of wild boars.) Dr. Regina Chong, principal of Patrick’s high school, is supporting a referendum to override the local tax cap to fund a desperately needed new school building, but for her plan to work, she needs to spur voter turnout among the generally disengaged electorate. Her scheme is thrown into jeopardy when a management shake-up at Bounty Bag—and the resulting push for automation—inspires the workers to rise up in protest. Meanwhile, 16-year-old Patrick has been getting into trouble, showing up to track practice drunk, dyeing his hair electric blue, and “running away” to stay in a friend’s basement. While Ray navigates the changing landscape of Bounty Bag with his colorful co-workers—odd characters like Muscles Carbonara, Toothless Mary, and The Alfredo—Patrick learns a bit of American history from his terminally ill teacher Mr. Grant, who helps him put the instabilities of capitalism and democracy in perspective. Can the Markhams manage to stay afloat, even if Pennacook itself is going down?
Giroux’s prose is reminiscent of Richard Russo’s writing: intricate and incisive, though always full of warmth and humor. Giroux particularly shines when chronicling the rules and rule breakers of Bounty Bag: “Every law and the Bounty Bag Code were against Toothless Mary’s smoking in Deli, but before the store opened she did it anyway and left her hair unwrapped too. During business hours, she smoked on the Golden Mile, the long, wide lane out back used for trash and Deliveries. Sometimes she returned from the Golden Mile with little pieces of garbage attached to her.” The author ambitiously sets out to say something about the state of the contemporary American town, subject to the whims of corporations, distracted voters, and shortsighted politicians. He manages to achieve that goal without drifting too far into didacticism or oversimplification. The characters are believable even as they are peculiar, and readers will have no trouble sympathizing with their various attempts to stay employed—or simply to remain sane. Patrick is a particularly well-drawn figure. Readers will not regret their time spent in Pennacook and will likely keep an eye out for whatever lighthearted dramas Giroux puts his pen to in the future.
A well-balanced comic tale that deftly grapples with larger contemporary themes.Pub Date: Aug. 11, 2020
ISBN: 978-1-73422-400-9
Page Count: 290
Publisher: New Salem Books
Review Posted Online: July 10, 2020
Kirkus Reviews Issue: Sept. 1, 2020
Review Program: Kirkus Indie
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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