A masterfully drawn, if sad, work of experimental coming-of-age fiction.

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PAPI

Most children believe their parents are perfect, and the realization that they aren’t typically comes as something of a shock.

But the 8-year-old unnamed protagonist of Dominican writer Indiana’s English-language debut is not typical. In fact, she’s always had mixed feelings about Papi, the father who can bring her from agony to exultation in the course of an afternoon. On one hand, Papi is larger than life, presenting himself as if he owns the world and everything in it. Cocky and brash, he drips wealth and conspicuous consumption. Is he really important, she wonders? If so, why? The answers to these basic questions are far more elusive than the little girl would like, but as she bounces between Papi’s U.S. and Dominican mansions, clues about his less-than-legal vocation come to the fore. She notices, for example, that people fawn all over her dad and hang on to his every word as they beg for handouts and favors. It’s unsettling. Worse, there's another side to Papi. And although the child clearly loves her dad and is thrilled to be part of his entourage, she has also had to reckon with the fact that Papi can be irresponsible, conniving, and cutthroat. Furthermore, she knows that he treats women badly and has herself been on the receiving end of his broken promises and blatant lies. Not surprisingly, the child is perplexed, and as she struggles to make sense of the dysfunction, images gleaned from horror movies, science fiction, telenovelas, and fantasy collide with her lived experience. Throughout, long run-on sentences force readers to sort through a dizzying array of words, emotions, and images. Palpable pain spills forth, as do the girl’s confusion, angst, and tumultuous inner life.

A masterfully drawn, if sad, work of experimental coming-of-age fiction.

Pub Date: March 22, 2016

ISBN: 978-0-226-24489-1

Page Count: 176

Publisher: Univ. of Chicago

Review Posted Online: Jan. 21, 2016

Kirkus Reviews Issue: Feb. 1, 2016

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An exuberant comic opera set to the music of life.

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DEACON KING KONG

The versatile and accomplished McBride (Five Carat Soul, 2017, etc.) returns with a dark urban farce crowded with misjudged signals, crippling sorrows, and unexpected epiphanies.

It's September 1969, just after Apollo 11 and Woodstock. In a season of such events, it’s just as improbable that in front of 16 witnesses occupying the crowded plaza of a Brooklyn housing project one afternoon, a hobbling, dyspeptic, and boozy old church deacon named Cuffy Jasper "Sportcoat" Lambkin should pull out a .45-caliber Luger pistol and shoot off an ear belonging to the neighborhood’s most dangerous drug dealer. The 19-year-old victim’s name is Deems Clemens, and Sportcoat had coached him to be “the best baseball player the projects had ever seen” before he became “a poison-selling murderous meathead.” Everybody in the project presumes that Sportcoat is now destined to violently join his late wife, Hettie, in the great beyond. But all kinds of seemingly disconnected people keep getting in destiny's way, whether it’s Sportcoat’s friend Pork Sausage or Potts, a world-weary but scrupulous white policeman who’s hoping to find Sportcoat fast enough to protect him from not only Deems’ vengeance, but the malevolent designs of neighborhood kingpin Butch Moon. All their destines are somehow intertwined with those of Thomas “The Elephant” Elefante, a powerful but lonely Mafia don who’s got one eye trained on the chaos set off by the shooting and another on a mysterious quest set in motion by a stranger from his crime-boss father’s past. There are also an assortment of salsa musicians, a gentle Nation of Islam convert named Soup, and even a tribe of voracious red ants that somehow immigrated to the neighborhood from Colombia and hung around for generations, all of which seems like too much stuff for any one book to handle. But as he's already shown in The Good Lord Bird (2013), McBride has a flair for fashioning comedy whose buoyant outrageousness barely conceals both a steely command of big and small narrative elements and a river-deep supply of humane intelligence.

An exuberant comic opera set to the music of life.

Pub Date: March 3, 2020

ISBN: 978-0-7352-1672-3

Page Count: 384

Publisher: Riverhead

Review Posted Online: Dec. 9, 2019

Kirkus Reviews Issue: Jan. 1, 2020

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Wingate sheds light on a shameful true story of child exploitation but is less successful in engaging readers in her...

BEFORE WE WERE YOURS

Avery Stafford, a lawyer, descendant of two prominent Southern families and daughter of a distinguished senator, discovers a family secret that alters her perspective on heritage.

Wingate (Sisters, 2016, etc.) shifts the story in her latest novel between present and past as Avery uncovers evidence that her Grandma Judy was a victim of the Tennessee Children’s Home Society and is related to a woman Avery and her father meet when he visits a nursing home. Although Avery is living at home to help her parents through her father’s cancer treatment, she is also being groomed for her own political career. Readers learn that investigating her family’s past is not part of Avery's scripted existence, but Wingate's attempts to make her seem torn about this are never fully developed, and descriptions of her chemistry with a man she meets as she's searching are also unconvincing. Sections describing the real-life orphanage director Georgia Tann, who stole poor children, mistreated them, and placed them for adoption with wealthy clients—including Joan Crawford and June Allyson—are more vivid, as are passages about Grandma Judy and her siblings. Wingate’s fans and readers who enjoy family dramas will find enough to entertain them, and book clubs may enjoy dissecting the relationship and historical issues in the book.

Wingate sheds light on a shameful true story of child exploitation but is less successful in engaging readers in her fictional characters' lives.

Pub Date: June 6, 2017

ISBN: 978-0-425-28468-1

Page Count: 352

Publisher: Ballantine

Review Posted Online: March 21, 2017

Kirkus Reviews Issue: April 1, 2017

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