Thrilling, provocative, and unapologetically kinky.
Fifteen tantalizing stories of pleasure, pain, and power.
Bondage. Voyeurism. Dominant-submissive relationships. Public displays. All of these kinks and more are explored in the sexy, star-studded fiction anthology edited by Kwon and Greenwell. In the introduction to their probing collection, the editors write: “By taking kink seriously, these stories recognize how the questions raised in intimate, kinky encounters...can help us to interrogate and begin to re-script the larger cultural narratives that surround us.” The characters in these stories illuminate the ways gender, politics, and cultural norms inform power dynamics—inside and outside the bedroom. The collection’s strength lies not just in the diversity of the writers, but also in the experiences they’re exploring. Kink, desire, and sexuality all exist on a spectrum, and so do these stories. In Kwon’s “Safeword,” a pain-seeking wife and her reluctant husband visit a dominatrix dungeon in Chelsea. Greenwell’s “Gospodar,” which follows a gay man seeking to be dominated, reveals the tenuous nature of trust—and the potential danger of getting more than you bargained for. A trans couple deals with being watched—in their bedroom and community—in Zeyn Joukhadar’s “The Voyeurs.” In an already strong anthology, standout stories include Carmen Maria Machado’s “The Lost Performance of the High Priestess of the Temple of Horror,” about an orphan who finds a home in a radical theater in early-20th century Paris; Brandon Taylor’s “Oh, Youth,” which is about the relationship between a rich, older White couple and the young Black man they’ve hired to live (and play) with them; and Vanessa Clark’s “Mirror, Mirror,” which is set in a “drag transsexual nightclub” and explores the transformative power in being desired exactly as you are (“Sometimes, their basking in my beauty was enough to thrill us both”). The at-times explicit collection won’t be for everyone, but these candid, slinky stories are sure to find their audience.
Thrilling, provocative, and unapologetically kinky.Pub Date: Feb. 9, 2021
ISBN: 978-1-982110-21-5
Page Count: 272
Publisher: Simon & Schuster
Review Posted Online: Nov. 17, 2020
Kirkus Reviews Issue: Dec. 1, 2020
BOOK REVIEW
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...
Four Chicago sisters anchor a sharp, sly family story of feminine guile and guilt.
Newcomer Lombardo brews all seven deadly sins into a fun and brimming tale of an unapologetically bougie couple and their unruly daughters. In the opening scene, Liza Sorenson, daughter No. 3, flirts with a groomsman at her sister’s wedding. “There’s four of you?” he asked. “What’s that like?” Her retort: “It’s a vast hormonal hellscape. A marathon of instability and hair products.” Thus begins a story bristling with a particular kind of female intel. When Wendy, the oldest, sets her sights on a mate, she “made sure she left her mark throughout his house—soy milk in the fridge, box of tampons under the sink, surreptitious spritzes of her Bulgari musk on the sheets.” Turbulent Wendy is the novel’s best character, exuding a delectable bratty-ness. The parents—Marilyn, all pluck and busy optimism, and David, a genial family doctor—strike their offspring as impossibly happy. Lombardo levels this vision by interspersing chapters of the Sorenson parents’ early lean times with chapters about their daughters’ wobbly forays into adulthood. The central story unfurls over a single event-choked year, begun by Wendy, who unlatches a closed adoption and springs on her family the boy her stuffy married sister, Violet, gave away 15 years earlier. (The sisters improbably kept David and Marilyn clueless with a phony study-abroad scheme.) Into this churn, Lombardo adds cancer, infidelity, a heart attack, another unplanned pregnancy, a stillbirth, and an office crush for David. Meanwhile, youngest daughter Grace perpetrates a whopper, and “every day the lie was growing like mold, furring her judgment.” The writing here is silky, if occasionally overwrought. Still, the deft touches—a neighborhood fundraiser for a Little Free Library, a Twilight character as erotic touchstone—delight. The class calibrations are divine even as the utter apolitical whiteness of the Sorenson world becomes hard to fathom.
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet another pleasurable tendril of sisterly malice uncurls.Pub Date: June 25, 2019
ISBN: 978-0-385-54425-2
Page Count: 544
Publisher: Doubleday
Review Posted Online: March 3, 2019
Kirkus Reviews Issue: March 15, 2019
SEEN & HEARD
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
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