An uneven but, in some respects, intriguing debut.
A particularly bad breakup leads a young woman to reexamine her past and how it shapes her identity and her desires.
The unnamed narrator of this novel is a “love addict.” What this means in practical terms is that she treats her partners terribly, engages in a lot of casual sex, and develops fixations on people who are unavailable and unattainable. Reading about her describe her life is a lot like being friends with someone who needs to give you every detail about their exploits in self-destruction and is incapable of heeding or even hearing the tiniest bit of reasonable advice. For some of us, it might be a treat to live vicariously. For others, it’s exhausting. How you feel about this book will largely depend on where you land on this matter. What is most interesting is the way Arafat navigates her protagonist’s complex identity. The narrator is, in addition to being a love addict, bisexual and Palestinian American. She comes from a conservative family, which made it difficult for her to understand her own sexuality when she was younger. Her queerness also complicates her already troubled relationship with her mother. At the same time, this character is living with her female lover in Brooklyn and DJ-ing at clubs where she hooks up with women and men both. This isn’t a coming-out narrative. Similarly, while her mother’s ethnic and religious backgrounds present challenges that the narrator has to overcome, she is, essentially, an American. This is to say that this isn’t an “immigrant story” if that means that acculturating to a new country and new way of life is the narrative’s central concern. Arafat’s protagonist is a messy, complicated character who doesn’t fit neatly into any single “multicultural” category, and that, all by itself, is refreshing.
An uneven but, in some respects, intriguing debut.Pub Date: June 9, 2020
ISBN: 978-1-948226-50-9
Page Count: 272
Publisher: Catapult
Review Posted Online: March 28, 2020
Kirkus Reviews Issue: April 15, 2020
Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the...
Hannah’s sequel to Firefly Lane (2008) demonstrates that those who ignore family history are often condemned to repeat it.
When we last left Kate and Tully, the best friends portrayed in Firefly Lane, the friendship was on rocky ground. Now Kate has died of cancer, and Tully, whose once-stellar TV talk show career is in free fall, is wracked with guilt over her failure to be there for Kate until her very last days. Kate’s death has cemented the distrust between her husband, Johnny, and daughter Marah, who expresses her grief by cutting herself and dropping out of college to hang out with goth poet Paxton. Told mostly in flashbacks by Tully, Johnny, Marah and Tully’s long-estranged mother, Dorothy, aka Cloud, the story piles up disasters like the derailment of a high-speed train. Increasingly addicted to prescription sedatives and alcohol, Tully crashes her car and now hovers near death, attended by Kate’s spirit, as the other characters gather to see what their shortsightedness has wrought. We learn that Tully had tried to parent Marah after her father no longer could. Her hard-drinking decline was triggered by Johnny’s anger at her for keeping Marah and Paxton’s liaison secret. Johnny realizes that he only exacerbated Marah’s depression by uprooting the family from their Seattle home. Unexpectedly, Cloud, who rebuffed Tully’s every attempt to reconcile, also appears at her daughter’s bedside. Sixty-nine years old and finally sober, Cloud details for the first time the abusive childhood, complete with commitments to mental hospitals and electroshock treatments, that led to her life as a junkie lowlife and punching bag for trailer-trash men. Although powerful, Cloud’s largely peripheral story deflects focus away from the main conflict, as if Hannah was loath to tackle the intractable thicket in which she mired her main characters.
Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the pages turning even as readers begin to resent being drawn into this masochistic morass.Pub Date: April 23, 2013
ISBN: 978-0-312-57721-6
Page Count: 416
Publisher: St. Martin's
Review Posted Online: Feb. 17, 2013
Kirkus Reviews Issue: March 1, 2013
Catastrophic climate change seems all too real through the eyes of a Florida girl.
Climate apocalypse is the setting for a formidable young woman’s coming-of-age.
Kirby Lowe is a lineman for the utility company in the small town of Rudder in southeast Florida. With a huge hurricane heading in, he’s called to work before it arrives. He hates leaving his pregnant wife and his two young sons at home, but they’re prepared, or so they think. The first part of this novel is a harrowing description of that storm and the destruction it wreaks; the second part picks up 10 years later with Kirby and his surviving family: grown son Lucas and 10-year-old daughter Wanda, named for the hurricane during which she was born. In a convincingly portrayed near-future Florida, climate change has accelerated. The hurricanes come faster and fiercer, and the barrier island communities are already slipping under the sea. Kirby and Lucas, now also a lineman, have so much work that Wanda is often on her own, and her adventurous streak worries her father. He finds her an after-school caretaker, a retired biology professor named Phyllis, who turns out to be the perfect choice. Soon the pair are conducting field studies of the local flora and fauna, and Phyllis, who as a biologist and former park ranger has seen climate disaster coming for years, starts teaching the girl how to grow a garden, keep chickens, forage, and use other survival skills. As Wanda grows up, the waters rise higher and the summers blaze hotter, and climate refugees begin to flee the state. Before long, mostly depopulated towns shut down, then even big cities are abandoned. “Eventually,” the author writes, “the federal government announced the widespread closure of Florida as a whole, as if it were a rundown theme park with a roller coaster that was no longer safe to ride.” Those who remain—Wanda and Phyllis among them—are on their own. Brooks-Dalton creates an all-too-believable picture of nature reclaiming Florida from its human inhabitants, and her complex and engaging characters make climate disaster a vividly individual experience rather than an abstract subject of debate.
Catastrophic climate change seems all too real through the eyes of a Florida girl.Pub Date: Dec. 6, 2022
ISBN: 978-1-5387-0827-9
Page Count: 320
Publisher: Grand Central Publishing
Review Posted Online: Sept. 27, 2022
Kirkus Reviews Issue: Oct. 15, 2022
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