“Whether the reader finds entertaining or tiresome such smoke-and-mirror tricks, a staple of Postmodernism, will depend on...




Are we ready for this? Another labyrinthine metafiction from the veteran literary gamesman who has beguiled and befuddled readers with such brainteasing doorstoppers as Giles Goat-Boy (1966), Letters (1979), and The Tidewater Tales (1987).

Persevere, and you’ll soon realize we’re once again in Maryland’s Chesapeake Bay region, where a Rabelaisian “piroguer” (roughly, scavenger) who appears to play—and possess—both male and female parts patrols the bay accompanied by her buddy EARL (thus acronymically named because he works at the nearby Earth Air Reconnaissance Laboratory). Their semirelevant peregrinations are both pirogue and prologue to the contention between veteran writer “Mister B.” (a.k.a.: “The Novelist Emeritus”) attempting to finish his latest (probably last) book as a hurricane, and the dawning of the 21st-century approach—and young hypertext whiz Johns [sic] Hopkins Johnson (“The Novelist Aspirant”), whom Mister B. dutifully recommends for a grad-school writing program. The rivalry between the two is sharpened by efforts to convert a retired Navy vessel into a “showboat”—a phenomenon that each undertakes to describe in fiction. Seasoned Barth readers will know about Our Author’s own long-ago (1957) first novel, The Floating Opera, and won’t be surprised when this latest meanders into sly invocations of both Aristotle’s Poetics and Edna Ferber’s pop classic Show Boat (along with its numerous theatrical and film mutations), as the writers’ war loopily intensifies. The pleasures of sailing and of making both fiction and love (frequently with, well, showboating “actress” Sherry McAndrews Singer, who is, inevitably, this novel’s Scheherazade) are celebrated more than a little coyly, though Barth does get off some fine frenzied sequences involving nautical-theatrical impresario Mort (!) Spindler, and an impudent recasting of Mark Twain’s Huck Finn (as “Hick Fen”).

“Whether the reader finds entertaining or tiresome such smoke-and-mirror tricks, a staple of Postmodernism, will depend on that reader’s taste and experience.” The reader couldn’t have said it better himself.

Pub Date: Nov. 20, 2001

ISBN: 0-618-13165-5

Page Count: 400

Publisher: Houghton Mifflin

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Sept. 1, 2001

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With humor and insight, Straub creates a family worth rooting for.


When Astrid Strick witnesses a school bus run over a longtime acquaintance of hers—Barbara Baker, a woman she doesn't like very much—it's only the beginning of the shake-ups to come in her life and the lives of those she loves.

Astrid has been tootling along contentedly in the Hudson Valley town of Clapham, New York, a 68-year-old widow with three grown children. After many years of singlehood since her husband died, she's been quietly seeing Birdie Gonzalez, her hairdresser, for the past two years, and after Barbara's death she determines to tell her children about the relationship: "There was no time to waste, not in this life. There were always more school buses." Elliot, her oldest, who's in real estate, lives in Clapham with his wife, Wendy, who's Chinese American, and their twins toddlers, Aidan and Zachary, who are "such hellions that only a fool would willingly ask for more." Astrid's daughter, Porter, owns a nearby farm producing artisanal goat cheese and has just gotten pregnant through a sperm bank while having an affair with her married high school boyfriend. Nicky, the youngest Strick, is disconcertingly famous for having appeared in an era-defining movie when he was younger and now lives in Brooklyn with his French wife, Juliette, and their daughter, Cecelia, who's being shipped up to live with Astrid for a while after her friend got mixed up with a pedophile she met online. As always, Straub (Modern Lovers, 2016, etc.) draws her characters warmly, making them appealing in their self-centeredness and generosity, their insecurity and hope. The cast is realistically diverse, though in most ways it's fairly superficial; the fact that Birdie is Latina or Porter's obstetrician is African American doesn't have much impact on the story or their characters. Cecelia's new friend, August, wants to make the transition to Robin; that storyline gets more attention, with the two middle schoolers supporting each other through challenging times. The Stricks worry about work, money, sex, and gossip; Straub has a sharp eye for her characters' foibles and the details of their liberal, upper-middle-class milieu.

With humor and insight, Straub creates a family worth rooting for.

Pub Date: May 5, 2020

ISBN: 978-1-59463-469-7

Page Count: 368

Publisher: Riverhead

Review Posted Online: Feb. 10, 2020

Kirkus Reviews Issue: March 1, 2020

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A daring concept not so daringly developed.


In Kidd’s (The Invention of Wings, 2014, etc.) feminist take on the New Testament, Jesus has a wife whose fondest longing is to write.

Ana is the daughter of Matthias, head scribe to Herod Antipas, tetrarch of Galilee. She demonstrates an exceptional aptitude for writing, and Matthias, for a time, indulges her with reed pens, papyri, and other 16 C.E. office supplies. Her mother disapproves, but her aunt, Yaltha, mentors Ana in the ways of the enlightened women of Alexandria, from whence Yaltha, suspected of murdering her brutal husband, was exiled years before. Yaltha was also forced to give up her daughter, Chaya, for adoption. As Ana reaches puberty, parental tolerance of her nonconformity wanes, outweighed by the imperative to marry her off. Her adopted brother, Judas—yes, that Judas—is soon disowned for his nonconformity—plotting against Antipas. On the very day Ana, age 14, meets her prospective betrothed, the repellent Nathanial, in the town market, she also encounters Jesus, a young tradesman, to whom she’s instantly drawn. Their connection deepens after she encounters Jesus in the cave where she is concealing her writings about oppressed women. When Nathanial dies after his betrothal to Ana but before their marriage, Ana is shunned for insufficiently mourning him—and after refusing to become Antipas’ concubine, she is about to be stoned until Jesus defuses the situation with that famous admonition. She marries Jesus and moves into his widowed mother’s humble compound in Nazareth, accompanied by Yaltha. There, poverty, not sexism, prohibits her from continuing her writing—office supplies are expensive. Kidd skirts the issue of miracles, portraying Jesus as a fully human and, for the period, accepting husband—after a stillbirth, he condones Ana’s practice of herbal birth control. A structural problem is posed when Jesus’ active ministry begins—what will Ana’s role be? Problem avoided when, notified by Judas that Antipas is seeking her arrest, she and Yaltha journey to Alexandria in search of Chaya. In addition to depriving her of the opportunity to write the first and only contemporaneous gospel, removing Ana from the main action destroys the novel’s momentum.

A daring concept not so daringly developed.

Pub Date: April 21, 2020

ISBN: 978-0-525-42976-0

Page Count: 432

Publisher: Viking

Review Posted Online: Jan. 27, 2020

Kirkus Reviews Issue: Feb. 15, 2020

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