An inviting page-turner about turning the page on the past.
In Driver-Thiel’s debut novel, a trio of imperfect women contend with the revelation that their lives are connected.
While Anne and Henry Bennett vacation in China, “insulated from the harsher realities of life,” their daughter, Sylvia, heads to Cedar Beach, Mich., to find Callie Collins, the daughter Anne gave up for adoption 10 years before Sylvia was born. The unexpected reunion of the half sisters—one, rich and lonely, the other, living hand-to-mouth but with the love of a good family—causes conflict, especially in an economy “sinking like a pig in mud.” At first, Callie resents the intrusion of her privileged sister, but Sylvia persists, eventually lending a hand at the Stone’s Throw Tavern, the floundering business run by Callie and her husband, Brad. When Sylvia asks Callie to attend her wedding to Pierson Kent IV, Callie refuses, “not interested in being the bombshell” Sylvia wants to drop on Anne. The Stone’s Throw also brings photographer Mike Kowalski, the “perfect blend of Midwestern farm boy and California surfer,” into Sylvia’s life. Through Mike’s eyes, Sylvia sees things in a new way and experiences “an unfamiliar and delicious sense of freedom.” When she returns to the East Coast, her mother’s harsh reaction to the unveiling of her secret is jaw-dropping, but it opens the way for Sylvia to create a new life for herself. Driver-Thiel’s well-crafted sentences unfold like a tight mystery, revealing secrets with a delicate touch. Depictions of rural life in the Thumb of Michigan juxtapose cleverly with the Bennett’s rarified world, where the value of people is measured “in terms of clothes, cars and country clubs.” With agility, the narrator weaves in and out of the minds of her three main characters, establishing a love/hate triangle built on Anne’s refusal to upset her “carefully constructed world.” Driver-Thiel’s ability to make the reader empathize with such a heartless character might be the book’s most remarkable feat.
An inviting page-turner about turning the page on the past.Pub Date: Dec. 20, 2012
ISBN: 978-0988656802
Page Count: 242
Publisher: Pine Lake Press, LLC
Review Posted Online: May 1, 2013
Review Program: Kirkus Indie
BOOK REVIEW
Downbeat but often engaging poems and stories.
A slim volume of largely gay-themed writings with pessimistic overtones.
Poe (Simple Simon, 2013, etc.) divides this collection of six short stories and 34 poems into five sections: “Art,” “Death,” “Relationship,” “Being,” and “Reflection.” Significantly, a figurative death at the age of 7 appears in two different poems, in which the author uses the phrase “a pretended life” to refer to the idea of hiding one’s true nature and performing socially enforced gender roles. This is a well-worn trope, but it will be powerful and resonant for many who have struggled with a stigmatized identity. In a similar vein, “Imaginary Tom” presents the remnants of a faded relationship: “Now we are imaginary friends, different in each other’s thoughts, / I the burden you seek to discard, / you the lover I created from the mist of longing.” Once in a while, short story passages practically leap off of the page, such as this evocative description of a seedy establishment in Lincoln, Nebraska: “It was a dimly lit bar that smelled of rodent piss, with barstools that danced on uneven legs and made the patrons wonder if they were drunker than they thought.” In “Valéry’s Ride,” Poe examines the familial duties that often fall to unmarried and childless people, keeping them from forming meaningful bonds with others. In this story, after the double whammy of Hurricanes Katrina and Rita hits Louisiana, Valéry’s extended family needs him more than ever; readers will likely root for the gay protagonist as he makes the difficult decision to strike out on his own. Not all of Poe’s main characters are gay; the heterosexual title character in “Mrs. Calumet’s Workspace,” for instance, pursues employment in order to escape the confines of her home and a passionless marriage. Working as a bookkeeper, she attempts to carve out a space for herself, symbolized by changes in her work area. Still, this story echoes the recurring theme of lives unlived due to forces often beyond one’s control.
Downbeat but often engaging poems and stories.Pub Date: Nov. 16, 2015
ISBN: 978-1-5168-3693-2
Page Count: 120
Publisher: CreateSpace
Review Posted Online: March 5, 2016
Review Program: Kirkus Indie
BOOK REVIEW
BOOK REVIEW
A volume of poetry that shines when focused on the author’s experiences of race and culture.
A collection speaks in part to the poet’s Mexican-American heritage.
In these multifaceted poems, Mexico-born, Houston-raised Salazar (Of Dreams and Thorns, 2017) explores general human themes like love and war in addition to specific experiences as a person of color. The book begins with a sensual meditation on desire, featuring luscious descriptions of a lover, from lips “moist like youth” to the body’s “softest velvet” slopes. The poems shift to odes to cultural icons like the Tejano star Selena and Mexican-German painter Frida Kahlo as well as occasion pieces honoring his brother’s 40th birthday and a friend’s mother’s memorial service. The author hits his stride when he delves into identity. In “I Am Not Brown,” he contemplates the societal implications of skin tone and his inability to fit into the rigid category of Caucasian or Latino. “For white and black and brown alike / Are slaves to history’s brush strokes,” he writes. “Grateful for the Work,” perhaps Salazar’s loveliest poem, catalogs the day of a laborer, starting with an early morning awakening and following him as he toils in 100-degree heat, enjoys tacos from his lunch pail, buys beverages from a child’s lemonade stand, and returns home to an equally hard-working wife. The author then makes an abrupt turn toward Syria in a series of poems that condemn that country’s president, Bashar Hafez al-Assad. They serve as a rallying cry for Syrians and grieve for the murdered masses. Salazar’s closing poem, “Sons of Bitches,” is a clunky rant about a 20-year-old immigrant shot in the head by a U.S. Customs and Border Patrol agent. The gratuitous violence and political theologizing are ill at ease with the intimate, personal experiences that preceded them, such as the fablelike “A Mexican is Made of This,” in which Salazar beautifully describes the “rainbows, bronze, backbone, butterflies” that his people embody.
A volume of poetry that shines when focused on the author’s experiences of race and culture.Pub Date: Aug. 1, 2018
ISBN: 978-0-9991496-3-8
Page Count: 166
Publisher: Bronze Diamond Productions
Review Posted Online: Sept. 27, 2018
Review Program: Kirkus Indie
BOOK REVIEW
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