Stories that affirm the value of truly being alive.
Death is only one of many transformations in this enchanting debut story collection, which won the Grace Paley Prize in Short Fiction.
Olguín’s characters shed their genders; they anglicize their names; they ascend to sainthood; they yearn to leave their human bodies behind, metamorphosing into mermaids. The book’s opening story announces this theme: “Here is the truth: everyone has but a single death to give to God…This is also the truth: Roque Contreras and his family died seven times in three years, with only one grave to show for it.” Here, as in many of the other stories, some of these transformations defy human reason. After Roque’s son is hit by a car and everyone is certain the boy is dead, he manages to peel himself off the pavement and return home, more worried about the damage to his beloved bicycle than his body. Other transformations, though less permanent than death, are no less profound, as in the deeply affecting “The Sea Gives Up the Dead,” a story set in the aftermath of World War II about a mother traveling to France to say goodbye to her dead son, only to get a second chance to see him if she is willing to let go of her idea of who he should be. Throughout, Olguín brilliantly queers more traditional tales and the conventional roles that women often play in fiction. The price of consummated desire is not death for the women in “The Princess Wants for Company,” and in the standout, “The Undertaker’s Dogs,” the protagonist’s reluctance to mother her boyfriend’s dog’s fragile puppies seems entirely sensible. Though a few pieces fall short, Olguín is a transporting writer whose stories are gripping from the opening sentences to the last lines.
Stories that affirm the value of truly being alive.Pub Date: April 29, 2025
ISBN: 9781636282718
Page Count: 152
Publisher: Red Hen Press
Review Posted Online: Feb. 1, 2025
Kirkus Reviews Issue: March 1, 2025
An affecting portrait of a prickly woman.
A lifetime’s worth of letters combine to portray a singular character.
Sybil Van Antwerp, a cantankerous but exceedingly well-mannered septuagenarian, is the titular correspondent in Evans’ debut novel. Sybil has retired from a beloved job as chief clerk to a judge with whom she had previously been in private legal practice. She is the divorced mother of two living adult children and one who died when he was 8. She is a reader of novels, a gardener, and a keen observer of human nature. But the most distinguishing thing about Sybil is her lifelong practice of letter writing. As advancing vision problems threaten Sybil’s carefully constructed way of life—in which letters take the place of personal contact and engagement—she must reckon with unaddressed issues from her past that threaten the house of cards (letters, really) she has built around herself. Sybil’s relationships are gradually revealed in the series of letters sent to and received from, among others, her brother, sister-in-law, children, former work associates, and, intriguingly, literary icons including Joan Didion and Larry McMurtry. Perhaps most affecting is the series of missives Sybil writes but never mails to a shadowy figure from her past. Thoughtful musings on the value and immortal quality of letters and the written word populate one of Sybil’s notes to a young correspondent while other messages are laugh-out-loud funny, tinged with her characteristic blunt tartness. Evans has created a brusque and quirky yet endearing main character with no shortage of opinions and advice for others but who fails to excavate the knotty difficulties of her own life. As Sybil grows into a delayed self-awareness, her letters serve as a chronicle of fitful growth.
An affecting portrait of a prickly woman.Pub Date: May 6, 2025
ISBN: 9780593798430
Page Count: 304
Publisher: Crown
Review Posted Online: Feb. 15, 2025
Kirkus Reviews Issue: March 15, 2025
A dark and twisty look at just how far one woman is willing to go to find inspiration.
A struggling writer finds an unexpected muse when a mysterious man shows up at her cabin.
Petra Rose used to pump out a bestselling book every six months, but then the adaptation happened—that is, the disastrous film adaptation of her most famous book. The movie changed the book’s storyline so egregiously that fans couldn’t forgive her, and the ensuing harassment sent Petra into hiding and gave her a serious case of writer’s block. Petra’s one hope is her solo writing retreat at a remote cabin, where she can escape the distractions of real life and focus on her next book, a story about a woman having an affair with a cop. When officer Nathaniel Saint shows up at her cabin door, inspiration comes flooding back. Much like the character from Petra’s book, Saint is married, and he’s willing to be Petra’s muse, helping her get into her characters’ heads. Petra’s book is practically writing itself, but is the game she’s playing a little too dangerous? Does she know when to stop—and, more importantly, is Saint willing to stop? Hoover is no stranger to controversial movie adaptations and internet backlash, but she clarifies in a note to readers that she’s “just a writer writing about a writer” and that no further connections to her own life are contained in these pages—which is a good thing, because the book takes some horrifying twists and turns. Petra finds herself inexplicably attracted to Saint, even as she describes him as “such an asshole,” and her feelings for him veer between love and hate. The novel serves as a meta commentary on the dark romance genre—as Petra puts it, “Even though, as readers, we wouldn’t want to live out some of the fantasies we read about, it doesn’t mean we don’t enjoy reading those things.”
A dark and twisty look at just how far one woman is willing to go to find inspiration.Pub Date: Jan. 13, 2026
ISBN: 9781662539374
Page Count: -
Publisher: Montlake
Review Posted Online: Sept. 27, 2025
Kirkus Reviews Issue: Nov. 1, 2025
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