A testament to the strength of women and girls with a side of philosophy, myth, and metaphysics.

TRINITY SIGHT

Brace yourself: The end of the world is coming. Or is it? A multilayered, Indigenous-inflected version of the apocalypse that resists predictability.

Calliope Santiago is an anthropologist and a young mother heavily pregnant with twins the day the Earth changes forever. As she’s driving home from her job as a professor at the University of New Mexico, there’s a blinding flash, and Calliope crashes her car. When she comes to, everyone else is gone, rapture-style. Well, almost everyone—Calliope’s 6-year-old neighbor, Eunjoo, also remains, inexplicably. The two flee Albuquerque, where long-dormant volcanoes, newly awakened, are burying the city in molten lava, and head for Calliope’s aunt’s hacienda in the Gila Mountains to the south. On the way, Calliope and Eunjoo amass an unlikely crew of fellow left-behinds, each with his or her role to play as their odyssey unfolds. The author of several poetry collections, first-time novelist Givhan employs Southwestern Puebloan mythology to inform the plot—as when Kachina dolls come to life as the monstrous and deadly Suuke, half-gods, half-monsters hell-bent on destroying Calliope and her companions. Givhan also makes contemporary connections, as when she invokes Kennewick Man, the ancient skeleton discovered in Washington state in the 1990s, and refers to the years of controversy between scientists, the U.S. government, and Native American tribes before the remains were eventually repatriated. Another character, Mara, who’s the partner of Calliope’s missing aunt, witnessed the birth of the atomic bomb in the 1940s when her father was sent to Los Alamos to work on the top-secret Manhattan project. Mara often links the nuclear terror of her childhood and the rending they’re witnessing near the end of her life. Givhan’s themes are complex and occasionally compete with the twists and turns of the plot for a reader’s attention. Still, texture and nuance are rare among disaster narratives and are welcome here.

A testament to the strength of women and girls with a side of philosophy, myth, and metaphysics.

Pub Date: Oct. 1, 2019

ISBN: 978-1-5385-5672-6

Page Count: 304

Publisher: Blackstone

Review Posted Online: July 15, 2019

Kirkus Reviews Issue: Aug. 1, 2019

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ONE DAY IN THE LIFE OF IVAN DENISOVICH

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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The phrase “tour de force” could have been invented for this audacious novel.

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A LITTLE LIFE

Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives.

Yanagihara (The People in the Trees, 2013) takes the still-bold leap of writing about characters who don’t share her background; in addition to being male, JB is African-American, Malcolm has a black father and white mother, Willem is white, and “Jude’s race was undetermined”—deserted at birth, he was raised in a monastery and had an unspeakably traumatic childhood that’s revealed slowly over the course of the book. Two of them are gay, one straight and one bisexual. There isn’t a single significant female character, and for a long novel, there isn’t much plot. There aren’t even many markers of what’s happening in the outside world; Jude moves to a loft in SoHo as a young man, but we don’t see the neighborhood change from gritty artists’ enclave to glitzy tourist destination. What we get instead is an intensely interior look at the friends’ psyches and relationships, and it’s utterly enthralling. The four men think about work and creativity and success and failure; they cook for each other, compete with each other and jostle for each other’s affection. JB bases his entire artistic career on painting portraits of his friends, while Malcolm takes care of them by designing their apartments and houses. When Jude, as an adult, is adopted by his favorite Harvard law professor, his friends join him for Thanksgiving in Cambridge every year. And when Willem becomes a movie star, they all bask in his glow. Eventually, the tone darkens and the story narrows to focus on Jude as the pain of his past cuts deep into his carefully constructed life.  

The phrase “tour de force” could have been invented for this audacious novel.

Pub Date: March 10, 2015

ISBN: 978-0-385-53925-8

Page Count: 720

Publisher: Doubleday

Review Posted Online: Dec. 22, 2014

Kirkus Reviews Issue: Jan. 1, 2015

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