It’s not hard to understand the temptation to rework this oft-told tale, but the result of this exercise is disappointing.
The author of Forty Rooms (2016) takes on Cinderella.
“Cinderella” is one of the most-often-told tales in the world. In this iteration of the familiar story, the heroine has been married to her prince long enough to want to murder him. Grushin is not the first to wonder what comes after happily-ever-after, of course, and she's aware of this. She uses the last stanza of Anne Sexton’s “Cinderella” as an epigram. This may not have been a wise choice, as Sexton’s 10 lines are ultimately more satisfying than Grushin’s 288 pages. This novel occupies an uncomfortable place between realism, postmodernism, and folklore. Part of the appeal of Cinderella—part of the appeal of all folkloric heroines—is that she's a blank screen onto which we can project our own selves and our own desires. This sort of protagonist works for long enough to sustain a fairy tale, but a novel typically requires a protagonist who emerges as a real person. Grushin’s Cinderella has enough of an inner life to make her specific—rather than universal—but not enough to emerge as a fully developed character. There’s an analogous issue of narrative voice. Fairy tales don’t feel like pure exposition because they are set in an eternal past and because they are short. Grushin isn’t the first author to try to refresh this style by adding a surfeit of adjectives and metaphors, but neither is she more successful than her predecessors. Maybe the most noteworthy thing about this novel is that its author has already written a much better one that asks the questions it seems to want to pose. Forty Rooms was, among other things, an extended meditation on what autonomy, identity, and purpose mean for women. It’s also worth noting that when working with—against?—the formal constraints of a story set in Soviet Russia and suburban America, Grushin conjures more magic than she does in the fantasy world of this novel.
It’s not hard to understand the temptation to rework this oft-told tale, but the result of this exercise is disappointing.Pub Date: Jan. 12, 2021
ISBN: 978-0-593-08550-9
Page Count: 288
Publisher: Putnam
Review Posted Online: Nov. 17, 2020
Kirkus Reviews Issue: Dec. 1, 2020
That college love affair you never got over? Come wallow in this gorgeous version of it.
A love triangle among young literati has a long and complicated aftermath.
King’s narrator doesn’t reveal her name until the very last page, but Sam and Yash, the brainy stars of her 17th-century literature class, call her Jordan. Actually, at first they refer to her as Daisy, for Daisy Buchanan of The Great Gatsby, but when they learn she came to their unnamed college on a golf scholarship, they change it to Jordan for Gatsby’s golfer friend. The boys are housesitting for a professor who’s spending a year at Oxford, living in a cozy, book-filled Victorian Jordan visits for the first time after watching The Deer Hunter at the student union on her first date with Sam. As their relationship proceeds, Jordan is practically living at the house herself, trying hard not to notice that she’s actually in love with Yash. A Baptist, Sam has an everything-but policy about sex that only increases the tension. The title of the book refers to a nickname for the king of hearts from an obscure card game the three of them play called Sir Hincomb Funnibuster, and both the game and variations on the moniker recur as the novel spins through and past Jordan’s senior year, then decades into the future. King is a genius at writing love stories—including Euphoria (2014), which won the Kirkus Prize—and her mostly sunny version of the campus novel is an enjoyable alternative to the current vogue for dark academia. Tragedies are on the way, though, as we know they must be, since nothing gold can stay and these darn fictional characters seem to make the same kinds of stupid mistakes that real people do. Tenderhearted readers will soak the pages of the last chapter with tears.
That college love affair you never got over? Come wallow in this gorgeous version of it.Pub Date: Oct. 7, 2025
ISBN: 9780802165176
Page Count: 256
Publisher: Grove
Review Posted Online: July 4, 2025
Kirkus Reviews Issue: Aug. 1, 2025
PERSPECTIVES
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.
A falsely accused Black man goes into hiding in this masterful novella by Wright (1908-1960), finally published in full.
Written in 1941 and '42, between Wright’s classics Native Son and Black Boy, this short novel concerns Fred Daniels, a modest laborer who’s arrested by police officers and bullied into signing a false confession that he killed the residents of a house near where he was working. In a brief unsupervised moment, he escapes through a manhole and goes into hiding in a sewer. A series of allegorical, surrealistic set pieces ensues as Fred explores the nether reaches of a church, a real estate firm, and a jewelry store. Each stop is an opportunity for Wright to explore themes of hope, greed, and exploitation; the real estate firm, Wright notes, “collected hundreds of thousands of dollars in rent from poor colored folks.” But Fred’s deepening existential crisis and growing distance from society keep the scenes from feeling like potted commentaries. As he wallpapers his underground warren with cash, mocking and invalidating the currency, he registers a surrealistic but engrossing protest against divisive social norms. The novel, rejected by Wright’s publisher, has only appeared as a substantially truncated short story until now, without the opening setup and with a different ending. Wright's take on racial injustice seems to have unsettled his publisher: A note reveals that an editor found reading about Fred’s treatment by the police “unbearable.” That may explain why Wright, in an essay included here, says its focus on race is “rather muted,” emphasizing broader existential themes. Regardless, as an afterword by Wright’s grandson Malcolm attests, the story now serves as an allegory both of Wright (he moved to France, an “exile beyond the reach of Jim Crow and American bigotry”) and American life. Today, it resonates deeply as a story about race and the struggle to envision a different, better world.
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.Pub Date: April 20, 2021
ISBN: 978-1-59853-676-8
Page Count: 240
Publisher: Library of America
Review Posted Online: March 16, 2021
Kirkus Reviews Issue: April 1, 2021
BOOK TO SCREEN
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