An engaging, if uneven, look at the problems of rural Alaska through the eyes of a teen.


An Alaska teenager sorts out her complicated family and campaigns for girls’ self-esteem and independence.

In this debut contemporary novel, Sobey introduces 17-year-old Crystal M. Rose (named, like her younger brother, JD, for one of her parents’ preferred substances), who writes songs in response to the drug use, objectification of girls, and general malaise she sees among her peers in small-town Alaska. With the help of her best friend, Kato, who runs his own blog advocating for the Native community, Crystal launches the book’s titular endeavor to share her songs with a wider audience. (The lyrics are featured in the novel’s text, and a companion website,, includes recordings.) The songs draw a mixture of scorn and support from her classmates and attention from politicians and the broader community, including Crystal and JD’s long-absent father, who poses a threat to his children. After Crystal and her loved ones relocate to Kato’s coastal village when their house is destroyed, she begins communicating with a blog commenter, setting in motion further family and community drama and reconciliation. Sobey, a resident of rural Alaska, portrays Crystal’s world with an insider’s perspective, vividly depicting the environment and traditions—the protagonist participates in a whale harvest—while also presenting a community nearly destroyed by drugs, alcohol (JD was named for Jack Daniel’s), and violence. The complex story of Crystal’s relatives and the lies they tell is well-executed, and Sobey keeps the many layers of the narrative balanced. But while Crystal’s passionate defense of girls who exist to satisfy boys’ desires is genuine, her enthusiasm often becomes judgmental (“How did your daughter turn into a drug addict?” she asks her grandparents; she tells a pregnant teen: “You’re going to have to teach her to not make the same mistakes”). And the protagonist’s interpretation of problems in the Native community (“Deep down, they believed their culture to be less….Somehow they needed to purge themselves and find a better path”) is off-putting.

An engaging, if uneven, look at the problems of rural Alaska through the eyes of a teen.

Pub Date: Dec. 20, 2018

ISBN: 978-1-68433-147-5

Page Count: 316

Publisher: Black Rose Writing

Review Posted Online: Nov. 26, 2018

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While a few weeks ago it seemed as if Praeger would have a two month lead over Dutton in their presentation of this Soviet best seller, both the "authorized" edition (Dutton's) and the "unauthorized" (Praeger's) will appear almost simultaneously. There has been considerable advance attention on what appears to be as much of a publishing cause celebre here as the original appearance of the book in Russia. Without entering into the scrimmage, or dismissing it as a plague on both your houses, we will limit ourselves to a few facts. Royalties from the "unauthorized" edition will go to the International Rescue Committee; Dutton with their contracted edition is adhering to copyright conventions. The Praeger edition has two translators and one of them is the translator of Doctor Zhivago Dutton's translator, Ralph Parker, has been stigmatized by Praeger as "an apologist for the Soviet regime". To the untutored eye, the Dutton translation seems a little more literary, the Praeger perhaps closer to the rather primitive style of the original. The book itself is an account of one day in the three thousand six hundred and fifty three days of the sentence to be served by a carpenter, Ivan Denisovich Shukhov. (Solzhenitsyn was a political prisoner.) From the unrelenting cold without, to the conditions within, from the bathhouse to the latrine to the cells where survival for more than two weeks is impossible, this records the hopeless facts of existence as faced by thousands who went on "living like this, with your eyes on the ground". The Dutton edition has an excellent introduction providing an orientation on the political background to its appearance in Russia by Marvin Kalb. All involved in its publication (translators, introducers, etc.) claim for it great "artistic" values which we cannot share, although there is no question of its importance as a political and human document and as significant and tangible evidence of the de-Stalinization program.

Pub Date: June 15, 1963

ISBN: 0451228146

Page Count: 181

Publisher: Praeger

Review Posted Online: Oct. 5, 2011

Kirkus Reviews Issue: June 15, 1963

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Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the...


Hannah’s sequel to Firefly Lane (2008) demonstrates that those who ignore family history are often condemned to repeat it.

When we last left Kate and Tully, the best friends portrayed in Firefly Lane, the friendship was on rocky ground. Now Kate has died of cancer, and Tully, whose once-stellar TV talk show career is in free fall, is wracked with guilt over her failure to be there for Kate until her very last days. Kate’s death has cemented the distrust between her husband, Johnny, and daughter Marah, who expresses her grief by cutting herself and dropping out of college to hang out with goth poet Paxton. Told mostly in flashbacks by Tully, Johnny, Marah and Tully’s long-estranged mother, Dorothy, aka Cloud, the story piles up disasters like the derailment of a high-speed train. Increasingly addicted to prescription sedatives and alcohol, Tully crashes her car and now hovers near death, attended by Kate’s spirit, as the other characters gather to see what their shortsightedness has wrought. We learn that Tully had tried to parent Marah after her father no longer could. Her hard-drinking decline was triggered by Johnny’s anger at her for keeping Marah and Paxton’s liaison secret. Johnny realizes that he only exacerbated Marah’s depression by uprooting the family from their Seattle home. Unexpectedly, Cloud, who rebuffed Tully’s every attempt to reconcile, also appears at her daughter’s bedside. Sixty-nine years old and finally sober, Cloud details for the first time the abusive childhood, complete with commitments to mental hospitals and electroshock treatments, that led to her life as a junkie lowlife and punching bag for trailer-trash men. Although powerful, Cloud’s largely peripheral story deflects focus away from the main conflict, as if Hannah was loath to tackle the intractable thicket in which she mired her main characters.

Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the pages turning even as readers begin to resent being drawn into this masochistic morass.

Pub Date: April 23, 2013

ISBN: 978-0-312-57721-6

Page Count: 416

Publisher: St. Martin's

Review Posted Online: Feb. 18, 2013

Kirkus Reviews Issue: March 1, 2013

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