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THE PROSTITUTES OF LAKE WIISHKOBAN

A slyly subversive and nimble exploration of identity and love.

Awards & Accolades

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A young woman embarks on an odyssey of self-discovery when she takes a job at a library that offers a unique service.

Alexis Tove, a quiet, reserved woman in Monroe, North Dakota, lives with her parents and works at the local library. Although her family hopes that she will marry and start a family, she longs to escape the confines of her small town, and one evening, she decides to pack up, get behind the wheel of her car, and leave for good. After she arrives in the town of Lake Wiishkoban, Minnesota, she notices a sign offering an apartment for rent. On impulse, she rents it and settles into a new life on her own. After losing a series of dead-end jobs, including a position as a vacuum-cleaner salesperson, she becomes desperate for work. Then she notices a help-wanted ad for a librarian position. With her past library experience, the job sounds ideal—until she learns the Lake Wiishkoban library is also a brothel and that the librarians there double as sex workers. However, despite her initial hesitation, she decides to accept the position, and she soon discovers a world that she never knew existed. As Alexis gains confidence working with her clients, she begins exploring her own sexuality and her new friendship with co-worker Vanessa, which soon turns romantic. Alexis comes to believe that she may have finally found love and acceptance, until a crisis threatens to expose the library’s secret. Shannon’s (50 Critical Thinking Exercises for Humanities Classes 2, 2018, etc.) fiction debut is an entertaining, provocative bildungsroman that successfully turns an unconventional premise into a thoughtful exploration of freedom and identity. Alexis is a dynamic protagonist whose quest to find herself drives the narrative. When she’s introduced, she’s a shy and introspective bookworm who has a propensity for going along with things because she doesn’t want to disappoint anybody. For example, she was initially only planning to look at the apartment in Lake Wiishkoban, but she ends up renting it because the landlady was helpful to her; Alexis feels like she would “have that on my conscience” if she didn’t rent the place. Once she begins sex work, however, she’s forced to question her passivity. The author establishes this transition in a particularly powerful scene in which Alexis practices bondage techniques with Vanessa: “why bother fighting it?” Alexis’ discovery that she’s a lesbian unfolds at a thoughtful, methodical pace as her feelings for Vanessa go beyond mere friendship. Shannon’s supporting characters are also well-drawn—especially Vanessa, a librarian and aspiring fashion designer who feels conflicted about sex work, and Chet, who believes that he’s a bunny trapped in the body of a man. The sex scenes, while explicit, never seem gratuitous and are often about self-discovery. That said, there are some elements of the story that are slightly underdeveloped; for example, a woman named Greta Best first organizes the brothel, but her motivations remain somewhat mysterious.

A slyly subversive and nimble exploration of identity and love.

Pub Date: Dec. 29, 2016

ISBN: 978-1-5202-5802-7

Page Count: 340

Publisher: CreateSpace

Review Posted Online: May 18, 2018

Kirkus Reviews Issue: July 15, 2018

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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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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

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