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NOBBY'S DIARY

A rollicking adventure that sends up and pays homage.

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In this short novel set in 1980s London, a boy becomes involved with an underground newspaper operation run by a group of homeless people.

Walker’s tale begins with an unusual premise. It’s 1985, and the city’s major newspapers are relocating their presses from Fleet Street to locations outside the city limits; the cost-cutting measure has dire consequences for the area’s homeless people, who rely on the warmth from the presses in winter. Speaking fondly of the warm air piped up to street level, the titular Nobby, an elder of the community, says, “It’s like having our own central heating system, only it’s outside. Lovely! Snug as a bug in a rug, even on the coldest nights.” However, Spencer Sweetnum, the 10-year-old son of a newspaperman, is the novel’s central character.When he discovers Nobby living in his parents’ shed, the two strike up an immediate friendship, and the elder man lets him in on a grand secret: the forsaken people of the city have come together to create their own paper to get heat flowing through the grates again. They’ve been stealing hardware from other papers’ presses and reassembling it in an abandoned tube station. To help his new comrades, Spencer must sneak around his father, who works in the circulation department at The Scribe. Meanwhile, the shadowy media baron who runs that newspaper, known only as the Proprietor, makes ready to crush his unlikely opposition. In one of several villainous speeches, he exclaims, “We seem to have been victimized by—indeed, have been outsmarted by—no less than four bums and a boy!”

Walker builds a colorful cast of characters in this novel. Like many child protagonists, Spencer doesn’t offer much beyond a sunny, energetic disposition, but Nobby and his friends’ characterizations more than make up for it. There’s Caractacus, who has an eye patch with “an eye crudely drawn on it,” and the enigmatic Kipper, who strikes quite a figure—although the author pays closer attention to his odor, which brings to mind “a touch of something recently deceased.” Mavis, the newspaper’s fashion editor, stylishly dresses in clipped-together plastic bags. And there’s the charismatic Nobby, a talkative old schemer with a big heart. Walker brings this crew to life as well as their unlikely iconoclastic newspaper, The Daily Bread, ostensibly founded just to keep them all warm. However, implausibilities abound: Kipper, for instance, happens to be an engineering genius who’s able to reassemble an entire press from purloined parts, and Spencer’s parents conveniently forget about him for long periods of time as he hangs out underground. But this is a heightened world of slapstick antics, and a few gaps of logic don’t stop the author from having fun, which makes for an enjoyable read. In one memorable scene, for example, a group is cornered by heavies working for the Proprietor. Kipper, like a malodorous superhero, flaps his lapels to waft a “greenish fog” at their pursuers.

A rollicking adventure that sends up and pays homage.

Pub Date: Sept. 10, 2019

ISBN: 978-1-69229-516-5

Page Count: 147

Publisher: Self

Review Posted Online: Aug. 15, 2020

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THE WEDDING PEOPLE

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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THE MAN WHO LIVED UNDERGROUND

A welcome literary resurrection that deserves a place alongside Wright’s best-known work.

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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

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