Superb atmospherics and dramatic timing coupled with arresting storylines. A promising start, if sobering for readers unused...

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WE COME TO OUR SENSES

STORIES

Memorable, even haunting tales of war and peace—two states of being that, in debut author Lindsey’s hands, are hard to tell apart.

“The bars having closed at midnight, we turn to guns.” So opens the title story, which, like the other pieces here, is largely set in the South, but a South not of stately magnolias and antebellum mansions but of dilapidated row houses ready to crumble into overflowing rivers, of chemically altered men and women nursing wounds physical and mental, of days spent with beer cans under ceiling fans before reruns on old televisions that would be better taken outside and shot. Those men and women have been to far-off deserts to fight, and they have seen horrible things and then come home to horrible situations. In the opening story, a woman whose just-barely-running car is making noises “like the collision of track gears on an M113A3 personnel carrier” endures an abusive boss, a dead-end job, and memories of a playful dog shot dead by the guys in the motor pool; so awful is her daily existence that she carefully plans a suicide that she can’t carry out because she is so constantly harried. In such a scenario, annual evaluations are as lethal to the spirit as IEDs are to the body. Civilians, too, are generally useless, like the gangbangers in one pensive story who fire off a few rounds, prompting a vet to protest, “You do NOT engage combat outside of an official combat zone.” But here the combat zone has extended to cover parking lots, bowling alleys, offices, everywhere, as inexorable as kudzu. Revisiting and building on themes from one story to the next, Lindsey writes with quiet confidence and sometimes arch humor that invites comparison to Ben Fountain and Phil Klay but that wouldn’t displease Flannery O’Connor.

Superb atmospherics and dramatic timing coupled with arresting storylines. A promising start, if sobering for readers unused to the grim realities of war.

Pub Date: July 26, 2016

ISBN: 978-0-393-24960-6

Page Count: 224

Publisher: Norton

Review Posted Online: May 3, 2016

Kirkus Reviews Issue: May 15, 2016

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With humor and insight, Straub creates a family worth rooting for.

ALL ADULTS HERE

When Astrid Strick witnesses a school bus run over a longtime acquaintance of hers—Barbara Baker, a woman she doesn't like very much—it's only the beginning of the shake-ups to come in her life and the lives of those she loves.

Astrid has been tootling along contentedly in the Hudson Valley town of Clapham, New York, a 68-year-old widow with three grown children. After many years of singlehood since her husband died, she's been quietly seeing Birdie Gonzalez, her hairdresser, for the past two years, and after Barbara's death she determines to tell her children about the relationship: "There was no time to waste, not in this life. There were always more school buses." Elliot, her oldest, who's in real estate, lives in Clapham with his wife, Wendy, who's Chinese American, and their twins toddlers, Aidan and Zachary, who are "such hellions that only a fool would willingly ask for more." Astrid's daughter, Porter, owns a nearby farm producing artisanal goat cheese and has just gotten pregnant through a sperm bank while having an affair with her married high school boyfriend. Nicky, the youngest Strick, is disconcertingly famous for having appeared in an era-defining movie when he was younger and now lives in Brooklyn with his French wife, Juliette, and their daughter, Cecelia, who's being shipped up to live with Astrid for a while after her friend got mixed up with a pedophile she met online. As always, Straub (Modern Lovers, 2016, etc.) draws her characters warmly, making them appealing in their self-centeredness and generosity, their insecurity and hope. The cast is realistically diverse, though in most ways it's fairly superficial; the fact that Birdie is Latina or Porter's obstetrician is African American doesn't have much impact on the story or their characters. Cecelia's new friend, August, wants to make the transition to Robin; that storyline gets more attention, with the two middle schoolers supporting each other through challenging times. The Stricks worry about work, money, sex, and gossip; Straub has a sharp eye for her characters' foibles and the details of their liberal, upper-middle-class milieu.

With humor and insight, Straub creates a family worth rooting for.

Pub Date: May 5, 2020

ISBN: 978-1-59463-469-7

Page Count: 368

Publisher: Riverhead

Review Posted Online: Feb. 10, 2020

Kirkus Reviews Issue: March 1, 2020

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A daring concept not so daringly developed.

THE BOOK OF LONGINGS

In Kidd’s (The Invention of Wings, 2014, etc.) feminist take on the New Testament, Jesus has a wife whose fondest longing is to write.

Ana is the daughter of Matthias, head scribe to Herod Antipas, tetrarch of Galilee. She demonstrates an exceptional aptitude for writing, and Matthias, for a time, indulges her with reed pens, papyri, and other 16 C.E. office supplies. Her mother disapproves, but her aunt, Yaltha, mentors Ana in the ways of the enlightened women of Alexandria, from whence Yaltha, suspected of murdering her brutal husband, was exiled years before. Yaltha was also forced to give up her daughter, Chaya, for adoption. As Ana reaches puberty, parental tolerance of her nonconformity wanes, outweighed by the imperative to marry her off. Her adopted brother, Judas—yes, that Judas—is soon disowned for his nonconformity—plotting against Antipas. On the very day Ana, age 14, meets her prospective betrothed, the repellent Nathanial, in the town market, she also encounters Jesus, a young tradesman, to whom she’s instantly drawn. Their connection deepens after she encounters Jesus in the cave where she is concealing her writings about oppressed women. When Nathanial dies after his betrothal to Ana but before their marriage, Ana is shunned for insufficiently mourning him—and after refusing to become Antipas’ concubine, she is about to be stoned until Jesus defuses the situation with that famous admonition. She marries Jesus and moves into his widowed mother’s humble compound in Nazareth, accompanied by Yaltha. There, poverty, not sexism, prohibits her from continuing her writing—office supplies are expensive. Kidd skirts the issue of miracles, portraying Jesus as a fully human and, for the period, accepting husband—after a stillbirth, he condones Ana’s practice of herbal birth control. A structural problem is posed when Jesus’ active ministry begins—what will Ana’s role be? Problem avoided when, notified by Judas that Antipas is seeking her arrest, she and Yaltha journey to Alexandria in search of Chaya. In addition to depriving her of the opportunity to write the first and only contemporaneous gospel, removing Ana from the main action destroys the novel’s momentum.

A daring concept not so daringly developed.

Pub Date: April 21, 2020

ISBN: 978-0-525-42976-0

Page Count: 432

Publisher: Viking

Review Posted Online: Jan. 27, 2020

Kirkus Reviews Issue: Feb. 15, 2020

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