A speculative novel told in fragments peels back the surface of a small town’s reality.
Buses drive themselves, birds have disappeared, and you can’t see the stars: This spare and striking novel is what comes next.
“The Conglomerates conglomerate until all corporations become, essentially, one. The bus with no driver keeps making its loop, and the road that goes nowhere dead ends.” The faceless, soulless rhythms of an increasingly automated world shape our unnamed narrator’s daily existence, after she’s informed that the bus she drove down Route 0 can now drive itself. She has lived in the same small town her whole life, and she’s cobbled together an eccentric family: her neighbor Uri; her dead father’s twin, Luce; the triplets she carried as a surrogate and kept after the intended parents died. This life isn’t exactly what she had hoped for. She’s had many dreams: to run away from town with “The Only Person [She’s] Ever Loved,” to become a radio astronomer, to hear the skylarks again, to see the stars. But the birds disappeared a long time ago, and the sky has been blank for just as long. This is the town’s new normal as it barrels toward The Crisis, which could be one thing, or “a series of crises, a web of crises different for every single person on this Earth.” But now, a series of strange occurrences may alter the town’s rhythms forever: Our narrator’s déjà vu is getting worse, making her feel as if she’s lived entire days before; jobs are disappearing as fast as strange nests are popping up; The Demonstration, a protest between YES and NO that has been going on for as long as anyone can remember, adds a new chant; a strange legend about the town—that it was mapped onto the solar system—leads the entire populace on a hunt for the truth. After she learns her late father’s theories on reality, our narrator is left to question the only world she’s ever known. What if she reversed the bus route she’s always driven? What if she went past the road’s dead end? What if she found a way to see the stars?
A speculative novel told in fragments peels back the surface of a small town’s reality.Pub Date: Aug. 13, 2024
ISBN: 9781950539970
Page Count: 212
Publisher: Dzanc
Review Posted Online: May 31, 2024
Kirkus Reviews Issue: July 1, 2024
BOOK REVIEW
BOOK REVIEW
Uneven but fitfully amusing.
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
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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