Hillbilly noir as literary fiction of the first order.
Mister Greuel never could abide chaos. Now “product” is missing, along with his best salesman, a “laker” named Fleece Skaggs. Such it is that sets a drug-dealing Kentucky enterprise unraveling in Gann’s (Our Napoleon in Rags, 2005, etc.) third novel.
The product is marijuana, albeit Mister (he insists upon the title) Greuel can provide crank, prescription drugs or suchlike to fit the customer’s needs. Fleece was the prime runner for Mister Greuel, who’s busy dying but thoroughly intent on finding the missing Fleece. James Cole Prather, always “swimming furiously in the wake of his brother’s life,” also wants to find Fleece, his half brother, but out of filial duty imposed by their prescription drug–addicted mother, Lyda. In this book, an ephemeral code of loyalty and duty is rigidly enforced by blood family or blood violence. In the first few chapters, Gann moves the setting from an abandoned Catholic seminary to a gospel church, Christ World Emergent, led by a former addict named Gil Ponder, and then to Lake Holloway and a community of edge-dwelling, hard-bitten ne’er-do-wells and sometime outlaws. In this mix there is Cole’s object of lust, Shady Beck, Audi-driving rich girl, ready to sit on Mister Greuel’s lap and partake of his marijuana. Gann peoples his tale with other riveting, memorable characters, including Arley Noe, “Blue Note” because of the illness-tinged skin color; professor Mule, an enforcer with a tool kit and a taste for mystery novels; and Nathan Crutchfield, marijuana farmer and sometime philosopher. The author has a gift for the right phrase and description. Unfolding with unflinching clarity and moral inevitability, this is a tale of love and loyalty, family and duty, naïveté and duplicity, played out on an amoral landscape of drugs and violence.
Hillbilly noir as literary fiction of the first order.Pub Date: April 10, 2012
ISBN: 978-19354394-7-9
Page Count: 286
Publisher: Ig Publishing
Review Posted Online: April 2, 2012
Kirkus Reviews Issue: April 15, 2012
BOOK REVIEW
Jonathan Livingston Kitty, it’s not.
A lonely postman learns that he’s about to die—and reflects on life as he bargains with a Hawaiian-shirt–wearing devil.
The 30-year-old first-person narrator in filmmaker/novelist Kawamura’s slim novel is, by his own admission, “boring…a monotone guy,” so unimaginative that, when he learns he has a brain tumor, the bucket list he writes down is dull enough that “even the cat looked disgusted with me.” Luckily—or maybe not—a friendly devil, dubbed Aloha, pops onto the scene, and he’s willing to make a deal: an extra day of life in exchange for being allowed to remove something pleasant from the world. The first thing excised is phones, which goes well enough. (The narrator is pleasantly surprised to find that “people seemed to have no problem finding something to fill up their free time.”) But deals with the devil do have a way of getting complicated. This leads to shallow musings (“Sometimes, when you rewatch a film after not having seen it for a long time, it makes a totally different impression on you than it did the first time you saw it. Of course, the movie hasn’t changed; it’s you who’s changed") written in prose so awkward, it’s possibly satire (“Tears dripped down onto the letter like warm, salty drops of rain”). Even the postman’s beloved cat, who gains the power of speech, ends up being prim and annoying. The narrator ponders feelings about a lost love, his late mother, and his estranged father in a way that some readers might find moving at times. But for many, whatever made this book a bestseller in Japan is going to be lost in translation.
Jonathan Livingston Kitty, it’s not.Pub Date: March 12, 2019
ISBN: 978-1-250-29405-0
Page Count: 176
Publisher: Flatiron Books
Review Posted Online: Feb. 16, 2019
Kirkus Reviews Issue: March 1, 2019
Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s...
The acclaimed author of The Underground Railroad (2016) follows up with a leaner, meaner saga of Deep South captivity set in the mid-20th century and fraught with horrors more chilling for being based on true-life atrocities.
Elwood Curtis is a law-abiding, teenage paragon of rectitude, an avid reader of encyclopedias and after-school worker diligently overcoming hardships that come from being abandoned by his parents and growing up black and poor in segregated Tallahassee, Florida. It’s the early 1960s, and Elwood can feel changes coming every time he listens to an LP of his hero Martin Luther King Jr. sermonizing about breaking down racial barriers. But while hitchhiking to his first day of classes at a nearby black college, Elwood accepts a ride in what turns out to be a stolen car and is sentenced to the Nickel Academy, a juvenile reformatory that looks somewhat like the campus he’d almost attended but turns out to be a monstrously racist institution whose students, white and black alike, are brutally beaten, sexually abused, and used by the school’s two-faced officials to steal food and supplies. At first, Elwood thinks he can work his way past the arbitrary punishments and sadistic treatment (“I am stuck here, but I’ll make the best of it…and I’ll make it brief”). He befriends another black inmate, a street-wise kid he knows only as Turner, who has a different take on withstanding Nickel: “The key to in here is the same as surviving out there—you got to see how people act, and then you got to figure out how to get around them like an obstacle course.” And if you defy them, Turner warns, you’ll get taken “out back” and are never seen or heard from again. Both Elwood’s idealism and Turner’s cynicism entwine into an alliance that compels drastic action—and a shared destiny. There's something a tad more melodramatic in this book's conception (and resolution) than one expects from Whitehead, giving it a drugstore-paperback glossiness that enhances its blunt-edged impact.
Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s novel displays its author’s facility with violent imagery and his skill at weaving narrative strands into an ingenious if disquieting whole.Pub Date: July 16, 2019
ISBN: 978-0-385-53707-0
Page Count: 224
Publisher: Doubleday
Review Posted Online: Jan. 20, 2019
Kirkus Reviews Issue: Feb. 1, 2019
PERSPECTIVES
SEEN & HEARD
SEEN & HEARD
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