This cocktail's recipe would be one part Travis McGee, one part Carl Hiaasen, and a salt shaker full of magical realism.
A beach bum who's a magnet for bad juju struggles to maintain his hard-knock life and idle pleasures amid the heat-seeking trouble headed his way.
Gulf Coast native Cooper made a memorable debut with The Marauders (2015). This second act delivers an even messier, nastier, more brutal, and engaging yarn that spans decades on a remote outpost deep in the wilds of Florida. Most crime novels zero in on a single target: a murder, a heist, or just regular bloody revenge. In this fascinating decadeslong trek, we follow perpetually stoned Reed Crowe and his nearly endless run of bad luck. Our titular loser is stuck, both psychically and physically, on Emerald Island, one of those fabled tourist traps from the 1950s, where Reed, circa 1980, manages a run-down motel and a pathetic amusement park, The Florida Man Mystery House. There’s an ex-wife, an internationally known artist named Heidi, as well as the memory of their dead little girl, Lily, which haunts him daily. As in many small towns, the denizens of Emerald Island live in a state of perpetual, tentative détente that threatens to erupt into violence at any moment. Among them are Wayne Wade, Reed’s pervy, drug-addled buddy; a kid named Eddie Maldonado who insists on helping with Reed’s various schemes; and most importantly, Henry Yahchilane, a quiet but dangerous loner who marks Reed as a threat to one of his most closely held secrets. Things get way out of hand when a villain named Hector “Catface” Morales, a Mariel boatlift veteran and sadistic assassin long thought dead, resurfaces with a plan to punish Reed for a dope deal gone wrong years ago. Add a few biblical hurricanes, the occasional sea monster, and Jimmy Buffet and stir.
This cocktail's recipe would be one part Travis McGee, one part Carl Hiaasen, and a salt shaker full of magical realism.Pub Date: July 28, 2020
ISBN: 978-0-593-13331-6
Page Count: 416
Publisher: Random House
Review Posted Online: May 3, 2020
Kirkus Reviews Issue: May 15, 2020
BOOK REVIEW
Hilarious, grotesque, and standing slightly in the shadow of its sibling.
Awad returns to the world of Bunny (2019), armed with her signature satirical and surrealist flair.
Samantha Heather Mackey has written a novel, and when she arrives on the dreamy and violent campus of Warren University, where she got her MFA, for her book tour, her fellow former students known as the Bunnies kidnap her and confront her about her thinly veiled autobiographical debut. Now the Bunnies are finally getting their say—and, boy, are they talkative. Offering a kaleidoscopic view of what went down before, during, and after the events chronicled in Bunny, the girls can’t contain their rage, disgust, jealousy, boredom, and hurt over Samantha and her novel. Eventually, Aerius, the Bunnies’ “First Boy. First Draft. First Darling.…First humiliation,” cuts in to offer his side of the story: How he came to be; his understanding (and misunderstanding) of the world; and how he causes, circumvents, and fits into the events of and beyond the first novel. Though he avoids the Bunnies (his “Keepers”) at all costs, they yearn and search for him, their finest work—even if you account for his bloody, violent streak. Considering whether Aerius was the town’s deranged murderer, they slyly say, “But ultimately, we simply did not think so, no. Because he’d come from us and we were lovely. As has already been stated.” This novel is at its best when musing about creativity, writing, and “the work”; skewering academia and elitism; and straddling the slippery border between reality and fantasy. Billed as a standalone, it is most successful as a companion to its predecessor, though at times it reveals too much about the mysterious lore and elusive dynamics of the first novel. Awad’s pacing is uneven, but she sticks the landing with a delightfully unexpected and unhinged ending. Her wit, humor, and metafictional prowess are on full display in this prequel, sequel, expanded upside-down revision, or whatever you want to call it.
Hilarious, grotesque, and standing slightly in the shadow of its sibling.Pub Date: Sept. 23, 2025
ISBN: 9781668059869
Page Count: 496
Publisher: Marysue Rucci Books
Review Posted Online: Aug. 16, 2025
Kirkus Reviews Issue: Sept. 15, 2025
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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