Next book

HOLDING ON

A finely crafted, often haunting portrait of a steel town and its men.

Awards & Accolades

Our Verdict

  • Our Verdict
  • GET IT

A collection of short stories documents the beginning of the end of a western Pennsylvania steel town.

Furnass, Pennsylvania, runs on steel mills: “The mills were a fact of life in Furnass, any part of Furnass, the same as the hills and the river and the trees; there was always the rust-covered smoke drifting over the valley, the steam from the coke ovens billowing up like huge genies to dull the sun.” In these 13 stories, set from the early 1950s to the early ’80s, the town’s citizens live and learn in the relative comfort of the steel economy—despite persistent rumors that it might all be going away. A 12-year-old boy buys a set of toy soldiers from a military antiques shop, intrigued by the rumors that surround the store’s handsy owner. Afterward, he encounters a different sexual ritual playing out in the woods near his home: one that ends, inevitably, with territorial violence between the town’s teenage gangs. Three former high school football players—now steelworkers—reminisce about a teammate who made it out of town with a mix of admiration and resentment. A Furnass mechanic is called to work on a Porsche that has broken down on the outskirts of town, which leads to a bit of class tension with the foreign car’s owner. Snodgrass (Across the River, 2018, etc.) shows how the fault lines that exist in any society—between men and women, friends and strangers—are only exacerbated once economic anxieties begin to rear their head. In the final tale, the eponymous “Hold On,” mill closures and layoffs haunt a social occasion involving three co-workers. A restored motorcycle appears to provide a welcome distraction from the uncertainty, but it proves to be a painful metaphor for the whole thing. The author’s measured, plainspoken prose appropriately calls to mind the dirty realism of the ’80s. “I finally give up and go home,” narrates one damaged protagonist, a burglar and drug addict. “It’s been a while since I broke in there, and when I’m hanging out at Mikey’s All-Niter and the old dolly comes in, I’m careful to stay out of sight. Somebody put another sheet of plywood over that transom, so it’s better to lay low for a while and let things cool down.” Between the stories, Snodgrass includes a series of Hemingway-esque interludes, which follow two Scottish soldiers back in 1764 as they hack their way through the forest that will one day be Furnass: a de facto foundational myth that foreshadows the struggles of the region’s subsequent inhabitants. The result is a convincing meditation on the nature of work and manhood in industrial America (for these are tales about men and their particularly male insecurities; a weakness of the book is that women generally appear only as wives, mothers, or objects of sexual desire). The author makes great use of a linked short story collection’s ability to capture a time and place, with each piece shining brighter when reflected off the others.

A finely crafted, often haunting portrait of a steel town and its men.

Pub Date: N/A

ISBN: 978-0-9997699-4-2

Page Count: 211

Publisher: Calling Crow Press

Review Posted Online: Oct. 17, 2019

Categories:
Next book

SUMMER ISLAND

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with...

Talk-show queen takes tumble as millions jeer.

Nora Bridges is a wildly popular radio spokesperson for family-first virtues, but her loyal listeners don't know that she walked out on her husband and teenaged daughters years ago and didn't look back. Now that a former lover has sold racy pix of naked Nora and horny himself to a national tabloid, her estranged daughter Ruby, an unsuccessful stand-up comic in Los Angeles, has been approached to pen a tell-all. Greedy for the fat fee she's been promised, Ruby agrees and heads for the San Juan Islands, eager to get reacquainted with the mom she plans to betray. Once in the family homestead, nasty Ruby alternately sulks and glares at her mother, who is temporarily wheelchair-bound as a result of a post-scandal car crash. Uncaring, Ruby begins writing her side of the story when she's not strolling on the beach with former sweetheart Dean Sloan, the son of wealthy socialites who basically ignored him and his gay brother Eric. Eric, now dying of cancer and also in a wheelchair, has returned to the island. This dismal threesome catch up on old times, recalling their childhood idylls on the island. After Ruby's perfect big sister Caroline shows up, there's another round of heartfelt talk. Nora gradually reveals the truth about her unloving husband and her late father's alcoholism, which led her to seek the approval of others at the cost of her own peace of mind. And so on. Ruby is aghast to discover that she doesn't know everything after all, but Dean offers her subdued comfort. Happy endings await almost everyone—except for readers of this nobly preachy snifflefest.

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with syrupy platitudes about life and love.

Pub Date: March 1, 2001

ISBN: 0-609-60737-5

Page Count: 336

Publisher: Crown

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Jan. 15, 2001

Categories:
Next book

LAST ORDERS

Britisher Swift's sixth novel (Ever After, 1992 etc.) and fourth to appear here is a slow-to-start but then captivating tale of English working-class families in the four decades following WW II. When Jack Dodds dies suddenly of cancer after years of running a butcher shop in London, he leaves a strange request—namely, that his ashes be scattered off Margate pier into the sea. And who could better be suited to fulfill this wish than his three oldest drinking buddies—insurance man Ray, vegetable seller Lenny, and undertaker Vic, all of whom, like Jack himself, fought also as soldiers or sailors in the long-ago world war. Swift's narrative start, with its potential for the melodramatic, is developed instead with an economy, heart, and eye that release (through the characters' own voices, one after another) the story's humanity and depth instead of its schmaltz. The jokes may be weak and self- conscious when the three old friends meet at their local pub in the company of the urn holding Jack's ashes; but once the group gets on the road, in an expensive car driven by Jack's adoptive son, Vince, the story starts gradually to move forward, cohere, and deepen. The reader learns in time why it is that no wife comes along, why three marriages out of three broke apart, and why Vince always hated his stepfather Jack and still does—or so he thinks. There will be stories of innocent youth, suffering wives, early loves, lost daughters, secret affairs, and old antagonisms—including a fistfight over the dead on an English hilltop, and a strewing of Jack's ashes into roiling seawaves that will draw up feelings perhaps unexpectedly strong. Without affectation, Swift listens closely to the lives that are his subject and creates a songbook of voices part lyric, part epic, part working-class social realism—with, in all, the ring to it of the honest, human, and true.

Pub Date: April 5, 1996

ISBN: 0-679-41224-7

Page Count: 304

Publisher: Knopf

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Feb. 15, 1996

Categories:
Close Quickview