Yglesias of course exploits headlines and Hollywood to tell his tale but not without sensitivity. Most important, he shines...
Three New York friends, in their childhood and adult selves, deal with a wily pedophile in an affecting novel that is big-screen lurid without being superficial or too slick.
In his 10th novel, Yglesias (A Happy Marriage, 2009, etc.) presents the children’s past trauma and their present-day reckoning in alternating chapters. Jeff’s adult cousin, Richard Klein, has already molested the 8-year-old boy when his predatory attention turns to Jeff’s best friend, Brian. The third victim is Julie, Jeff’s young cousin, who is 11. It's hard to say whether the more devastating scene is the 23-page playlet in which Klein traps Julie on his lap in a room full of adults and children and forces the boys to watch him secretly molest her; or the paragraph in which Jeff makes an imaginary adventure of his desperate efforts to dispose of bloodied underwear without his mother’s knowledge. As adults, Brian is single and a successful screenwriter, Julie is a library archivist and married with a teenage son, while Jeff, on his third marriage, is the top film director in the U.S. After years apart, the three reunite because Klein has just managed to elude exposure in another scandal and the trio is debating going public. Yglesias provides several revelations that ramp up the shock in an already awful tale and add a touch of Agatha Christie–like mystery. The author’s experience with Hollywood as a producer and screenwriter (his own novel Fearless and other scripts) brings color and humor to the Brian and Jeff characters. Early in the book, a strange apologia for a character named Aries Wallinksi, who is clearly Roman Polanski (could this be a roman à clef in more ways than one?), previews many of the novel’s themes and then reverberates late in the story with Julie’s cry: “I want people to understand it isn’t just priests and a couple loner weirdos.”
Yglesias of course exploits headlines and Hollywood to tell his tale but not without sensitivity. Most important, he shines a Kleig light where it may be most needed, into the parlors and playrooms where many Americans endure or perpetrate these nightmares.Pub Date: March 24, 2015
ISBN: 978-1-61620-384-9
Page Count: 384
Publisher: Algonquin
Review Posted Online: Jan. 6, 2015
Kirkus Reviews Issue: Jan. 15, 2015
In this vivid and moving book, Orange articulates the challenges and complexities not only of Native Americans, but also of...
Orange’s debut novel offers a kaleidoscopic look at Native American life in Oakland, California, through the experiences and perspectives of 12 characters.
An aspiring documentary filmmaker, a young man who has taught himself traditional dance by watching YouTube, another lost in the bulk of his enormous body—these are just a few of the point-of-view characters in this astonishingly wide-ranging book, which culminates with an event called the Big Oakland Powwow. Orange, who grew up in the East Bay and is an enrolled member of the Cheyenne and Arapaho Tribes of Oklahoma, knows the territory, but this is no work of social anthropology; rather, it is a deep dive into the fractured diaspora of a community that remains, in many ways, invisible to many outside of it. “We made powwows because we needed a place to be together,” he writes. “Something intertribal, something old, something to make us money, something we could work toward, for our jewelry, our songs, our dances, our drum.” The plot of the book is almost impossible to encapsulate, but that’s part of its power. At the same time, the narrative moves forward with propulsive force. The stakes are high: For Jacquie Red Feather, on her way to meet her three grandsons for the first time, there is nothing as conditional as sobriety: “She was sober again,” Orange tells us, “and ten days is the same as a year when you want to drink all the time.” For Daniel Gonzales, creating plastic guns on a 3-D printer, the only lifeline is his dead brother, Manny, to whom he writes at a ghostly Gmail account. In its portrayal of so-called “Urban Indians,” the novel recalls David Treuer’s The Hiawatha, but the range, the vision, is all its own. What Orange is saying is that, like all people, Native Americans don’t share a single identity; theirs is a multifaceted landscape, made more so by the sins, the weight, of history. That some of these sins belong to the characters alone should go without saying, a point Orange makes explicit in the novel’s stunning, brutal denouement. “People are trapped in history and history is trapped in them,” James Baldwin wrote in a line Orange borrows as an epigraph to one of the book’s sections; this is the inescapable fate of every individual here.
In this vivid and moving book, Orange articulates the challenges and complexities not only of Native Americans, but also of America itself.Pub Date: June 5, 2018
ISBN: 978-0-525-52037-5
Page Count: 304
Publisher: Knopf
Review Posted Online: March 19, 2018
Kirkus Reviews Issue: April 1, 2018
BOOK REVIEW
Corrosive dispatches from the divided heart of America.
Edgy humor and fierce imagery coexist in these stories with shrewd characterization and humane intelligence, inspired by volatile material sliced off the front pages.
The state of race relations in post-millennial America haunts most of the stories in this debut collection. Yet Adjei-Brenyah brings to what pundits label our “ongoing racial dialogue” a deadpan style, an acerbic perspective, and a wicked imagination that collectively upend readers’ expectations. “The Finkelstein 5,” the opener, deals with the furor surrounding the murder trial of a white man claiming self-defense in slaughtering five black children with a chainsaw. The story is as prickly in its view toward black citizens seeking their own justice as it is pitiless toward white bigots pressing for an acquittal. An even more caustic companion story, “Zimmer Land,” is told from the perspective of an African-American employee of a mythical theme park whose white patrons are encouraged to act out their fantasies of dispensing brutal justice to people of color they regard as threatening on sight, or “problem solving," as its mission statement calls it. Such dystopian motifs recur throughout the collection: “The Era,” for example, identifies oppressive class divisions in a post-apocalyptic school district where self-esteem seems obtainable only through regular injections of a controlled substance called “Good.” The title story, meanwhile, riotously reimagines holiday shopping as the blood-spattered zombie movie you sometimes fear it could be in real life. As alternately gaudy and bleak as such visions are, there’s more in Adjei-Brenyah’s quiver besides tough-minded satire, as exhibited in “The Lion & the Spider,” a tender coming-of-age story cleverly framed in the context of an African fable.
Corrosive dispatches from the divided heart of America.Pub Date: Oct. 23, 2018
ISBN: 978-1-328-91124-7
Page Count: 208
Publisher: Mariner/Houghton Mifflin Harcourt
Review Posted Online: July 16, 2018
Kirkus Reviews Issue: Aug. 1, 2018
BOOK REVIEW
PROFILES
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
