by Francis Levy ; illustrated by Hallie Cohen ‧ RELEASE DATE: N/A
A dark, sometimes funny, meditation on the absurd trials of life.
A collection of bleak and amusing literary short stories from Levy.
The assorted stories in this collection tend to involve people in situations that are, in one way or another, desperate. “The Sprinter” features a nameless runner who literally exercises to death. He is engaged in “an odd form of suicide that masked itself as self-improvement.” “The Night Man” features 65-year-old Joe, who, reluctantly, retires from his position as a “night man” at an apartment complex. The story from which the book takes its title, “The Kafka Studies Department,” is about a small collection of powerless academics who study the famous author; the only one in the department with any reputation in the outside world dies rather suddenly. Many of the pieces involve well-to-do families: “Company History” is concerned with the merger of two wealthy families; “Profit/Loss” is about a power couple with a less-than-spectacular child. Both parents die in their 50s despite “all the energy they’d put into leading healthy and productive lives.” Simple black-and-white sketches by the illustrator, Cohen, add to the bleakness; “The Night Man” concludes with a drawing of the lonely exterior of Joe’s building, while “The Book of Solitude” includes an image of someone holding a volume titled The Book of Solitude. The stories in the second half of the book feature a protagonist named Spector, who spends his time mulling over the unfairness of life and preparing a hit list of people he hates. “Sleep” illustrates how Spector used to spend his weekends…sleeping. When success at his job launches him into the higher echelons of society, he is not quite sure what to do with himself. He suffers from a fear “about being discovered, about having it all taken away.”
The desperation and despair are played for laughs. When the humor succeeds, it does so in a stinging way: Those who make up the Kafka Studies department are, of course, ripe for mockery. That they have one among them who is unlike the others sets the stage. That this maverick meets a swift end is made funny by the pleasure it gives his closest rival. The rival is so passively pathetic that he ultimately removes his “Hush Puppies of the impoverished scholar” and wears the dead man’s shoes. “Profit/Loss” likewise exudes an entertaining darkness. The central couple, who have done everything right, manage to raise a boy who loves nothing more than “commercial television.” The narrator laments, “If only they could have a child they could be proud of!” If only. Other stories do not quite have the same twisted appeal. The protagonist of “The Sprinter” is as perplexing as his antics. It seems silly that he wears the same Golden Wok T-shirt every time he exercises, but his actions are more puzzling than comical. Each entry, including the installments featuring Spector, is indeed short, coming in at no more than a few pages. The prose is kept as minimal as the illustrations—at one point, Spector’s routine is described as “work, exercise, visits to his therapist.” When Spector comes into a fair amount of money, he finds that “With nothing out of his grasp, everything had lost its allure.” The book is full of such finely tuned lines, some more humorous than others.
A dark, sometimes funny, meditation on the absurd trials of life.Pub Date: N/A
ISBN: 9781956474275
Page Count: 110
Publisher: Heliotrope Books
Review Posted Online: July 14, 2023
Review Program: Kirkus Indie
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by Alison Espach ‧ RELEASE DATE: July 30, 2024
Uneven but fitfully amusing.
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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
by Margaret Atwood ‧ RELEASE DATE: Sept. 10, 2019
Suspenseful, full of incident, and not obviously necessary.
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Booker Prize Winner
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
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edited by Margaret Atwood & Douglas Preston
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