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ADDICTS & BASEMENTS

A fascinating study of human attachment and loss.

Awards & Accolades

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A fast-moving fusion of microfiction and free verse that peers into the places where people keep things most deeply hidden.

Vaughan (Diptychs + Triptychs + Lipsticks + Dipshits, 2013, etc.) is quick to identify his own motivations for this project. In “Fallout,” one of the shorter flash-fiction vignettes included in this collection, he writes: “He wants to photograph the seed pods, transfixed by the way they morph while they float….He hopes to capture their essence, as if by shooting them, freezing them frame by frame, he might see his own life oozing before him, undulating like festering wounds.” Whether photographers, tourists or children, Vaughan’s narrators approach their own circumstances and feelings with a scientific attention to detail, slicing each specimen down to the thinnest membrane before studying it with a thorough, distanced objectivity, always seeking some answer and often finding something festering. What they discover is that the most powerful addictions have little to do with substances and everything to do with patterns of behavior and belief. “Basements are unsafe” since they’re where loss occurs and, worse, where truth might be found. When his wife calls him pathetic, a stumbling drunk has to admit, “The truth is we’ve been this way for so long, I think I believe her.” Another husband accuses his wife of paranoia for worrying about his revealing their camping spot to a stranger, but inwardly, he thinks, “I wasn’t willing to admit it: he creeped me out, too….I chuckled but knew she was right.” For all their seeking, the truths they find invariably turn out to be their own inadequacies: “I said: // ‘Tell me the truth.’ / And he said, ‘I don’t believe you— // to tell the truth.’ ” Perhaps the most remarkable feature of the collection is its emotional evenness. The scientific examining persists; there is little judgment, little compassion, only observation. The young woman who loses her friend on a trip and the possibly sociopathic teen threatening sexual violence share a kind of detachment bordering on a lack of affect. These attempts to examine the human animal prove to be the collection’s strength, draining though they can be. In his dissections, Vaughan uncovers an astonishing resilience, but it is often wounded and ugly. The few emotionally charged exceptions, such as “On the Wings of a Dove,” are welcome relief.

A fascinating study of human attachment and loss.

Pub Date: Feb. 1, 2014

ISBN: 978-1-937865-23-8

Page Count: 142

Publisher: Civil Coping Mechanisms

Review Posted Online: April 3, 2014

Kirkus Reviews Issue: May 1, 2014

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TO KILL A MOCKINGBIRD

A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.

Pub Date: July 11, 1960

ISBN: 0060935464

Page Count: 323

Publisher: Lippincott

Review Posted Online: Oct. 7, 2011

Kirkus Reviews Issue: July 1, 1960

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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

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