A rollicking, inventive, mostly successful satire—with a vein of seriousness and sadness underneath.
The second novel of a projected trilogy (after Original Prin, 2018) is a satire set behind the scenes of a Middle American theme park based on The Divine Comedy.
Prin, a Sri Lankan Canadian professor of English and a devout Catholic, finds himself in a personal purgatory: semiestranged from wife and kids, semi-homeless, semi-jobless. Hungry for money and purpose, he accepts an invitation to Terre-Haute, where he lectures handfuls of auditors at community centers and big-box stores on The Divine Comedy. Afterward Prin is recruited as a consultant for Dante's Indiana, a Christian amusement park that's the "retirement project" of a wealthy packaging-company owner named Charlie Tracker; he's also enlisted as an informant by Charlie’s son, Hugh, who's recently taken over the company. One of Prin's innovations is to base the park's central roller coaster on Geryon, the monster who in the Comedy is the very face of fraud. (His visage is that of an innocent man, but his body is part reptile and part hairy beast, with a scorpion's stinging tail.) This goes horrendously awry after a young Black man coincidentally named Garyon is killed by an off-duty police officer. When an employee leaves the park project—they've recently partnered with an evangelical ministry that runs a Kentucky Bible park in which humans and dinosaurs frolic together, a literalism too far—she informs the press that the park's centerpiece will be a black-faced homophonic monster from the jaws of hell, and protests begin. Meanwhile, another controversy brews; Hugh Tracker is trying to save his business by making blister packs for the opioid painkillers that are ravaging the Midwest. The novel's comedy can be overbroad or scattershot, but Boyagoda keeps things moving quickly and imaginatively. He skewers hosts of sinners along the way, but the wit has a winsome empathy behind it.
A rollicking, inventive, mostly successful satire—with a vein of seriousness and sadness underneath.Pub Date: Sept. 7, 2021
ISBN: 978-1-77196-427-2
Page Count: 224
Publisher: Biblioasis
Review Posted Online: June 28, 2021
Kirkus Reviews Issue: July 15, 2021
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...
Four Chicago sisters anchor a sharp, sly family story of feminine guile and guilt.
Newcomer Lombardo brews all seven deadly sins into a fun and brimming tale of an unapologetically bougie couple and their unruly daughters. In the opening scene, Liza Sorenson, daughter No. 3, flirts with a groomsman at her sister’s wedding. “There’s four of you?” he asked. “What’s that like?” Her retort: “It’s a vast hormonal hellscape. A marathon of instability and hair products.” Thus begins a story bristling with a particular kind of female intel. When Wendy, the oldest, sets her sights on a mate, she “made sure she left her mark throughout his house—soy milk in the fridge, box of tampons under the sink, surreptitious spritzes of her Bulgari musk on the sheets.” Turbulent Wendy is the novel’s best character, exuding a delectable bratty-ness. The parents—Marilyn, all pluck and busy optimism, and David, a genial family doctor—strike their offspring as impossibly happy. Lombardo levels this vision by interspersing chapters of the Sorenson parents’ early lean times with chapters about their daughters’ wobbly forays into adulthood. The central story unfurls over a single event-choked year, begun by Wendy, who unlatches a closed adoption and springs on her family the boy her stuffy married sister, Violet, gave away 15 years earlier. (The sisters improbably kept David and Marilyn clueless with a phony study-abroad scheme.) Into this churn, Lombardo adds cancer, infidelity, a heart attack, another unplanned pregnancy, a stillbirth, and an office crush for David. Meanwhile, youngest daughter Grace perpetrates a whopper, and “every day the lie was growing like mold, furring her judgment.” The writing here is silky, if occasionally overwrought. Still, the deft touches—a neighborhood fundraiser for a Little Free Library, a Twilight character as erotic touchstone—delight. The class calibrations are divine even as the utter apolitical whiteness of the Sorenson world becomes hard to fathom.
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet another pleasurable tendril of sisterly malice uncurls.Pub Date: June 25, 2019
ISBN: 978-0-385-54425-2
Page Count: 544
Publisher: Doubleday
Review Posted Online: March 3, 2019
Kirkus Reviews Issue: March 15, 2019
SEEN & HEARD
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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