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Whiskey Rebel

A fun romp through the modern American West buttressed by earnest humor and a dash of history.

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Dunn’s comedic novel features a wounded veteran and an itinerant dreamer.

Punxie Tawney is out on his own in the wilds of Washington state, panning for gold in much the same way the prospectors of yesteryear would have. Punxie is freshly back from a tour of duty in Iraq, and though he is up and about, readers quickly learn his tour ended when he was critically injured by a roadside IED while riding in an Army Humvee. Though Punxie might say his faculties are intact, he seems, if not psychologically bereft, to be searching for something or someone. This longing is no doubt exacerbated by the fact that while Punxie was away at war, both his mother and father died in rapid succession, leaving him an orphan. From across the shores of the river where he combs for precious ore, Punxie notices the also memorably named Hamilton Chance, another man ostensibly panning for gold who, Punxie soon learns, is driven by another goal. Hamilton, as he explains to Punxie, is descended from a long line of American patriots, most notably the men who led the Whiskey Rebellion of 1794. Using that rebellion as a call to action, Hamilton’s sole purpose at this stage in his life is to establish a distillery in which he will make tax-free, all-American whiskey (the name of which, the men decide later on, will be “Westcoulatum Good Goddamned 1794 Freedom Whiskey”). Punxie, with little family or obligation tethering him to any one place, soon sets off with Hamilton, and the two of them “go fishing,” using their thumbs as “lures” to hitch a ride to the local library where Hamilton can teach Punxie about his family history. Punxie, perhaps somewhat conveniently, is taken quite quickly with the idea of Hamilton’s distillery and the notion of pure freedom it promises. Things are never so simple, though. When “The Aphrodite of Wenatchee,” otherwise known as Cherry, shows up with her friend Loyalhanna in tow, Punxie’s latent loneliness and desperation for contact—the same things that initially attached him to Hamilton—make it impossible for him to shun human connection, even if it gets in the way of 1794 Freedom Whiskey.

While Dunn’s novel is mostly humorous and generally lighthearted, his prose occasionally rises to the poetic, particularly when describing the landscape: “The sun was beginning to get tired of sterilizing Moses Coulee and was letting gravity pull it toward the Cascades. Soon, it would take its evening dip into the Pacific to cool off for the night, and then Moses Coulee would become a different thing altogether.” Such writing is reminiscent of Dunn’s other work, and fans of his novel Radio Free Olympia (2023) will delight in this return to form. This novel arrives at an interesting time in the American cultural climate; while some readers may have a hard time finding the levity in any discussion of “freedom” or American history, Dunn writes with enough heart and a sufficiently deft hand to wrangle the material with class and self-awareness.

A fun romp through the modern American West buttressed by earnest humor and a dash of history.

Pub Date: N/A

ISBN: N/A

Page Count: -

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Review Posted Online: Feb. 19, 2025

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MY FRIENDS

A tender and moving portrait about the transcendent power of art and friendship.

An artwork’s value grows if you understand the stories of the people who inspired it.

Never in her wildest dreams would foster kid Louisa dream of meeting C. Jat, the famous painter of The One of the Sea, which depicts a group of young teens on a pier on a hot summer’s day. But in Backman’s latest, that’s just what happens—an unexpected (but not unbelievable) set of circumstances causes their paths to collide right before the dying 39-year-old artist’s departure from the world. One of his final acts is to bequeath that painting to Louisa, who has endured a string of violent foster homes since her mother abandoned her as a child. Selling the painting will change her life—but can she do it? Before deciding, she accompanies Ted, one of the artist’s close friends and one of the young teens captured in that celebrated painting, on a train journey to take the artist’s ashes to his hometown. She wants to know all about the painting, which launched Jat’s career at age 14, and the circle of beloved friends who inspired it. The bestselling author of A Man Called Ove (2014) and other novels, Backman gives us a heartwarming story about how these friends, set adrift by the violence and unhappiness of their homes, found each other and created a new definition of family. “You think you’re alone,” one character explains, “but there are others like you, people who stand in front of white walls and blank paper and only see magical things. One day one of them will recognize you and call out: ‘You’re one of us!’” As Ted tells stories about his friends—how Jat doubted his talents but found a champion in fiery Joar, who took on every bully to defend him; how Ali brought an excitement to their circle that was “like a blinding light, like a heart attack”—Louisa recognizes herself as a kindred soul and feels a calling to realize her own artistic gifts. What she decides to do with the painting is part of a caper worthy of the stories that Ted tells her. The novel is humorous, poignant, and always life-affirming, even when describing the bleakness of the teens’ early lives. “Art is a fragile magic, just like love,” as someone tells Louisa, “and that’s humanity’s only defense against death.”

A tender and moving portrait about the transcendent power of art and friendship.

Pub Date: May 6, 2025

ISBN: 9781982112820

Page Count: 448

Publisher: Atria

Review Posted Online: July 4, 2025

Kirkus Reviews Issue: Aug. 1, 2025

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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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