A memorable entry into the dystopian-literature canon from a young German writer to watch.
The appearance of an outsider disrupts the lives of two women, a mother and daughter, living in an isolated, apocalyptic environment.
Edith and Skalde live in "the territory," a landscape blighted by oppressive heat. Most large animals have died off, though dogs are still pets and rabbits remain as one of the only sources of meat. Skalde, the book’s sole narrator, tends to their potato patch and does her best to grow up in the face of Edith’s indifference (Edith spends days on end lying on the couch or in the bathtub) and cruelty, both emotional and physical. Now Skalde has only her writings to keep her company. It hasn’t always been this way: From her childhood, Skalde remembers fog, damp weather, and Edith’s attention. Although they are not alone in the territory, the few other inhabitants tend to steer clear of them for reasons that Skalde doesn’t fully understand. She is resigned to their isolation, though; the one bridge to the mainland was deliberately blown up years before to keep the territory residents safe from interlopers. That’s why it shocks Skalde to come across a young girl with red hair—a clear sign that she doesn’t belong to the territory. When Skalde decides to take the girl, Meisis, back to the home she shares with Edith, she has no idea how much this will threaten the territory’s residents and how quickly whatever order was found there will unravel. Bukowski has written a lean, muscular book that dispenses with much worldbuilding or exposition, but the book’s taut shape seems to fit with Skalde’s fiercely guarded self-sufficiency. With dashes of folk horror, cli-fi, and post-apocalyptic influences, Bukowski crafts a narrative that is somehow both propulsive and elegantly spare.
A memorable entry into the dystopian-literature canon from a young German writer to watch.Pub Date: Sept. 21, 2021
ISBN: 978-1-951213-35-0
Page Count: 202
Publisher: Unnamed Press
Review Posted Online: Aug. 31, 2021
Kirkus Reviews Issue: Sept. 15, 2021
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
An uncompromising message, delivered via a gripping story with two engaging heroines.
An undergraduate at Brown University unearths the buried history of a Latine artist.
As in her bestselling debut, Olga Dies Dreaming (2022), Gonzalez shrewdly anatomizes racial and class hierarchies. Her bifurcated novel begins at a posh art-world party in 1985 as the title character, a Cuban American land and body artist, garners recognition that threatens the ego of her older, more famous husband, white minimalist sculptor Jack Martin. The story then shifts to Raquel Toro, whose working-class, Puerto Rican background makes her feel out of place among the “Art History Girls” who easily chat with professors and vacation in Europe. Nonetheless, in the spring of 1998, Raquel wins a prestigious summer fellowship at the Rhode Island School of Design, and her faculty adviser is enthusiastic about her thesis on Jack Martin, even if she’s not. Soon she’s enjoying the attentions of Nick Fitzsimmons, a well-connected, upper-crust senior. As Raquel’s story progresses, Anita’s first-person narrative acquires a supernatural twist following the night she falls from the window of their apartment —“jumped? or, could it be, pushed?”—but it’s grimly realistic in its exploration of her toxic relationship with Jack. (A dedication, “In memory of Ana,” flags the notorious case of sculptor Carl Andre, tried and acquitted for the murder of his wife, artist Ana Mendieta.) Raquel’s affair with Nick mirrors that unequal dynamic when she adapts her schedule and appearance to his whims, neglecting her friends and her family in Brooklyn. Gonzalez, herself a Brown graduate, brilliantly captures the daily slights endured by someone perceived as Other, from microaggressions (Raquel’s adviser refers to her as “Mexican”) to brutally racist behavior by the Art History Girls. While a vividly rendered supporting cast urges Raquel to be true to herself and her roots, her research on Martin leads to Anita’s art and the realization that she belongs to a tradition that’s been erased from mainstream art history.
An uncompromising message, delivered via a gripping story with two engaging heroines.Pub Date: March 5, 2024
ISBN: 9781250786210
Page Count: 352
Publisher: Flatiron Books
Review Posted Online: Nov. 18, 2023
Kirkus Reviews Issue: Dec. 15, 2023
BOOK REVIEW
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