A dark, stylish tale that revels in its ambiguity.
A lowly man searches for a way out of a seemingly inescapable City in this dystopian noir.
Wellington Thorneycroft makes his money from stealing, mostly pickpocketing. Many others survive in the enigmatic City by becoming Factory workers. But Thorneycroft is a loner who frequently partakes of alcohol and Ambrosia (a variety of psychoactive pills). One day, he’s taken aback by a strange woman he encounters whose voice he hears in his head: “We’ll escape together.” His friend Dempsey suggests the woman is a nymph called Lilith, one of the compassionate beings whose apparent expulsion from the City coincided with the construction of the Wall. When Felix, the thuggish individual who runs the City, later offers Thorneycroft a job, Lilith’s voice tells him to take it. The gig is nothing new to Thorneycroft, since it involves burglary, until Lilith directs him to a blueprint. He has to hide it from Felix, who quickly discovers he’s stashing it. The blueprint may hold the key to escaping outside the Wall, as scaling it is evidently impossible. With help from Lilith, Thorneycroft undertakes the perilous task of infiltrating the Factory, where the City’s exit ostensibly resides. Richardson coats his short, engaging novel in a gleefully dense atmosphere. Thorneycroft, for example, is periodically in a hazy state, either Ambrosia-induced or involving dreams that sometimes seem more real than not. Likewise, the bleak story is deliberately vague, including the mysterious past event known as the Transformation and Lilith’s evasive responses to Thorneycroft’s questions. But the author gives the City a strong pulse, particularly in the vivid descriptions of its relentless heat: “The room had no windows or air conditioning or even a fan. The air was heavy and hellishly hot, so hot it burned my throat to breathe it.” The indelible ending, despite the resolution, is open to interpretation.
A dark, stylish tale that revels in its ambiguity. (about the author)Pub Date: June 1, 2020
ISBN: 978-1-951150-31-0
Page Count: 178
Publisher: New Pulp Press
Review Posted Online: April 14, 2020
Review Program: Kirkus Indie
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
One of the noblest characters in American literature gets a novel worthy of him.
Mark Twain's Adventures of Huckleberry Finn as told from the perspective of a more resourceful and contemplative Jim than the one you remember.
This isn’t the first novel to reimagine Twain’s 1885 masterpiece, but the audacious and prolific Everett dives into the very heart of Twain’s epochal odyssey, shifting the central viewpoint from that of the unschooled, often credulous, but basically good-hearted Huck to the more enigmatic and heroic Jim, the Black slave with whom the boy escapes via raft on the Mississippi River. As in the original, the threat of Jim’s being sold “down the river” and separated from his wife and daughter compels him to run away while figuring out what to do next. He's soon joined by Huck, who has faked his own death to get away from an abusive father, ramping up Jim’s panic. “Huck was supposedly murdered and I’d just run away,” Jim thinks. “Who did I think they would suspect of the heinous crime?” That Jim can, as he puts it, “[do] the math” on his predicament suggests how different Everett’s version is from Twain’s. First and foremost, there's the matter of the Black dialect Twain used to depict the speech of Jim and other Black characters—which, for many contemporary readers, hinders their enjoyment of his novel. In Everett’s telling, the dialect is a put-on, a manner of concealment, and a tactic for survival. “White folks expect us to sound a certain way and it can only help if we don’t disappoint them,” Jim explains. He also discloses that, in violation of custom and law, he learned to read the books in Judge Thatcher’s library, including Voltaire and John Locke, both of whom, in dreams and delirium, Jim finds himself debating about human rights and his own humanity. With and without Huck, Jim undergoes dangerous tribulations and hairbreadth escapes in an antebellum wilderness that’s much grimmer and bloodier than Twain’s. There’s also a revelation toward the end that, however stunning to devoted readers of the original, makes perfect sense.
One of the noblest characters in American literature gets a novel worthy of him.Pub Date: March 19, 2024
ISBN: 9780385550369
Page Count: 320
Publisher: Doubleday
Review Posted Online: Dec. 16, 2023
Kirkus Reviews Issue: Jan. 15, 2024
PERSPECTIVES
PERSPECTIVES
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