SUCKER PUNCH: Essays, apt title...on several levels

SUCKER PUNCH: Essays
SCAACHI KOUL
St. Martin's Press (non-affiliate Amazon link)
$14.99 ebook edition, available now

Rating: 3* of five

The Publisher Says: The long-awaited follow-up from one of the most original and hilarious voices writing today.

Scaachi Koul’s first book was a collection of raw, perceptive, and hilarious essays reckoning with the issues of race, body image, love, friendship, and growing up the daughter of immigrants. When the time came to start writing her next book, Scaachi assumed she’d be updating her story with essays about her elaborate four-day wedding, settling down to domestic bliss, and continuing her never-ending arguments with her parents. Instead, the Covid pandemic hit, the world went into lockdown, Scaachi’s marriage fell apart, she lost her job, and her mother was diagnosed with cancer.

Sucker Punch is about what happens when the life you thought you’d be living radically changes course, everything you thought you knew about the world and yourself has tilted on its axis, and you have to start forging a new path forward. Scaachi employs her signature humor and fierce intelligence to interrogate her previous belief that fighting is the most effective tool for progress. She examines the fights she’s had—with her parents, her ex-husband, her friends, online strangers, and herself—all in an attempt to understand when a fight is worth having, and when it's better to walk away.

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My Review: Author Koul's funny. Not innocently amusing, funny. She's written before this (One Day We’ll All Be Dead and None of This Will Matter) about her immigrant-to-Canada parents and her ongoing battles with their traditional expectations versus her Canadian ones. She had, then, a bit about her elaborate wedding...now it's about her pandemic experience, her mother's health crisis, the collapse of her marriage after that astonishing wedding...and something that's never been dealt with in her life, let alone her prose, before: she was sexually assaulted.

I do not know, or know of, a single solitary woman who does not have a story about her body being at the minimum threatened with sexual violence. Reading about it is, it seems, a means of creating solidarity and permission to say out loud that it's happened to you, like the very public #MeToo movement that's been bringing crimes to light that men are just as glad to have swept under the rug.

A proper millennial, Author Koul does her level-best to spin these facts of her life as...not funny, really, but sources or wry humor as she goes about coping with her wounds from them. I think a lot of women love to read these stories as a way to get perspective on the pain in their own lives. I'm aware of the reality and the awfulness of abuse in intimate relationships. It's not fun, and I myownself am not a fan of it as a topic for humorous coping.

Her other coping mechanism is rage. Full-throated, loudly expressed rage. That one I know from the inside; I do not think it is beneficial, nor appropriate, to valorize is as Author Koul does, while using humor to defuse its painful and destructive consequences on everyone...literally everyone...around her.

This is from my own experience: Go get counseling. Stay in counseling the rest of your life. Nothing will remove the rage. Work towards ways to minimize its footprint in your life, and the lives of those around you.

Three stars because it's trenchant and timely.

AMELIA BLOOMER: Journalist, Suffragist, Anti-Fashion Icon, a woman of moral certainty and impeccable rectitude who rebelled hard

AMELIA BLOOMER: Journalist, Suffragist, Anti-Fashion Icon
SARA CATTERALL
Belt Publishing (non-affiliate Amazon link)
$17.99 ebook edition, available now

Rating: 5* of five

The Publisher Says: A fascinating look at an underappreciated woman in American history whose newspaper fostered a national conversation on women's issues.

Those who recognize the name Amelia Bloomer usually do so because of bloomers, the clothing item named after her. While she was a rational dress advocate for a time—calling on women to abandon rigid corsets and heavy petticoats and opt for long trousers, shorter skirts, and sensible boots—it was "but an incident" in the larger story of her life and impact.

Bloomer edited and published The Lily, the first newspaper for and by women. Much like Bloomer herself, it started as a temperance rag before broadening to include some of the most important issues to women in that day, including the right to vote, and included contributions from thinkers like Elizabeth Cady Stanton. The groundbreaking paper brought the conversation from Seneca Falls right to the doorsteps of women across the expanding nation.

Guided by a rigid sense of morality and a Puritan work ethic, Bloomer remained open-minded to new ideas. She refused to be swayed by social norms and wrote cutting responses to those who tried to intimidate or shame her and her friends, a group that included Stanton and Susan B. Anthony. This deeply researched biography by Sara Catterall follows the many chapters of her life: her humble upbringing in upstate New York, her role in the temperance movement (and its true legacy as a wellspring of the women's rights movement), her years at The Lily, her groundbreaking position as deputy postmaster in Seneca Falls, her troubled health, and her eventual move to Council Bluffs, Iowa, where she continued to move the needle on women's suffrage in the more flexible new governments of the West.

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My Review: It had never creased my cranium that Amelia Bloomer was a temperance crusader before I read this book. Given that my mother the abuser never drank, and I had one boyfriend in my life who ever raised a hand to me and that never happened while he was drunk, temperance just did not ever cause me to think "good idea". All my associations with Mrs. Bloomer were around her ideas regarding the idiotic way women were caged inside their clothing during this era. Corsets really are the bound feet of Western culture.

I was utterly unprepared to meet this wildly different Bloomer. She was a woman of her time, in many ways moreso than the more famous ladies like her friends Stanton and Anthony...both of whom she knew from living in Seneca Falls, New York, and each of whom influenced her increasingly radical thinking about women's suffrage...as she was married with children and required to earn her living alongside her husband as best she was able while still raising children. Dexter and she were co-workers, as he hired her to work alongside him as a postmaster after his stint as a Whig-supporting newspaper editor landed him the job. A government salary for a woman no less!

Her position as a temperance crusader led her to make the connection that the only way to stop the unregulated flow of alcohol was to exert political pressure to regulate it. That was impossible, on a practical level, absent votes for women. (She didn't live to see Prohibition and its horrifying unintended consequences.) So her rational dress and votes for women all owe their influence on US culture to her christian temperance-movement work. It was spread wider than Seneca Falls by her opening The Lily, a newspaper for and by women that she, despite raising children, suffering chronic illness, and a complete lack of training except by Dexter's example from his newspaperman days. I am *gobsmacked* by her rigidly moral outlook leading her so far in opposition to the stupid cultural norms of "appropriate" behavior for women in a time where they were so very much more entrenched and enforced than they are now.

At this moment in US, and more broadly Western, political history, the example of a woman who looks at the world as she finds it, judges it harshly for its failings, and—at considerable personal cost to herself and her family—sets about opposing that world continuing down its present path, is invaluable. I'd also like to point out her starchy morality was inspired by an upbringing conventionally religious yet her response to it was radically, vocally, and consistently to apply its moral precepts in full and without exceptions.

If more christians were like Amelia Bloomer, the world would be a better place.

I did indeed just say that. Her acerbic wit, another surprise this book held for me, was deployed against obtuse and obnoxious followers of orthodoxy. Yet Mrs. Bloomer's touch with connecting to people who genuinely did not understand the stakes she saw so clearly in the direction society was heading was exemplary. She met those people on their own ground, without preaching or hectoring. I can only envy that skill; I myownself climb onto my ever-present high horse because I'm Right, that ever-losing strategy. Mrs. Bloomer's tone was always respectful...until she sensed ill-will or disingenuousness.

I knew exactly nothing of the substance of her life until Belt Publishing brought out this book. (I also now know that Dexter Bloomer wrote a biography of her in 1896, so I'll Gutenberg that up here directly.) Author Catterall and her publisher are to be praised, and I hope supported with purchases, for telling this unjustly neglected monadnock of probity and moral clarity's story to a needy new generation of readers. All five stars for bringing modern attention to this person from our past with so much to teach us for our future. It's involving prose, built on solidly shown foundations of information.

OUR JACKIE: Public Claims on a Private Life, stealth take-down of modern celebrity culture by looking deeply into its past

OUR JACKIE: Public Claims on a Private Life
KAREN M. DUNAK
NYU Press
$30.00 ebook edition, available now

Rating: 4* of five

The Publisher Says: Tells the story of Jacqueline Kennedy Onassis through her evolving public persona, from campaign wife to First Lady to fallen idol to treasured national icon

When Jacqueline Kennedy Onassis became First Lady of the United States over sixty years ago, she stepped into the public spotlight. Although Jackie is perhaps best known for her two highly-publicized marriages, her legacy has endured beyond twentieth-century pop culture and she remains an object of public fascination today.Drawing on a range of sources—from articles penned for the women’s pages of local newspapers, to esteemed national periodicals, to fan magazines and film—Our Jackie evaluates how media coverage of Jacqueline Kennedy Onassis changed over the course of her very public life. Jackie’s interactions with and framing by the American media reflect the changing attitudes toward American womanhood.

Over the course of four decades, Jackie was alternatively praised for her service to others, and pilloried for her perceived self-interest. In Our Jackie, Karen M. Dunak argues that whether she was portrayed as a campaign wife, a loyal widow, a selfish jetsetter, or a mature career woman, the history of Jackie’s highly publicized life demonstrates the ways in which news, entertainment, politics, and celebrity evolved and intertwined over the second half of the twentieth century.

Examining the intimate chronicles of this famous First Lady’s life, Our Jackie suggests that media coverage of this enigmatic public figure revealed as much about the prevailing views of women in America– how they should behave and whom they should serve– as it did about Jacqueline Kennedy Onassis as an individual.

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My Review: How ghastly it must be to be famous. Nothing, not even your underwear preferences, is personal and private. Mrs. Kennedy was the first media celeb to experience this in the television age...though TV was most assuredly not the worst offender in depriving this upper-class woman of her private life (looking at you, recently-twitching corpse of The Saturday Evening Post).

The fact is, we never knew the elegant, cultured woman, comfortable in her own skin, that wore masks to keep the hoi polloi from knowing how very much of the haut ton she was. And the best thing about it all is, she knew what she was doing. She was a very careful curator of her, and her family's, image. She was a participant in this game, and a victim of it; the ways she worked to contain the access of an intrusive forcee of curiosity onto her private life were defensive, effective, and after a certain learning curve, collaborative.

Author Dunak has gone into what feels like every archive of 1960s media there is to find the scraps and bits that illuminate American ideas about this icon of our culture. I'm deeply impressed at the sources! It seems the author has synthesized the opinions of the entire spectrum of the US media landscape...what a grisly task that'd be, thank all the goddesses she didn't have social media to grapple with!...into several archetypes of sorts. Mrs. Kennedy as Grieving Widow-in-Chief. Jackie O. as selfish traitor who abandoned her country to run away with an ugly old rich Greek guy. Jackie Kennedy as aspirational American homemaker-cum-style icon. JKO, the book editor at Viking...until they published a book about the Kennedys that was a hatchet job, when she moved to Doubleday...the erudite, late-life Career Woman. None of them was the woman herself, though that's outside the scope of this book. We have here a chance to grapple with the essential issue of celebrity culture: These are people, and we as consumer-celebrity units, treat them as property. Our responses of pleasure, when the icons are well-behaved, to outrage when we think they are not, is not new, though the outrageous extreme of cancel culture is worse now than in, say, Ingrid Bergman's day, but it's still not new.

Author Dunak offers us a thorough and deftly presented categorization and analysis of this strain in US popular culture. It affords the reader the clarity in distance to think about the ways in which we individually play along with, support, and/or amplify the idea that we "own" those we admire. We're asserting control over women, particularly, but in fact over all those who dare to be tall poppies in our field of vision.

It was a sobering take-away but one that felt omnipresent if never shouted at me by Author Dunak.

It's not quite a five-star read, as it is definitely academic if more accessibly so than most.

POPULAR HITS OF THE SHOWA ERA, reposting my 2010 review

POPULAR HITS OF THE SHOWA ERA
RYU MURAKAMI (tr. Ralph McCarthy)
W.W. Norton (non-affiliate Amazon link)
$9.99 ebook edition, available now

Rating: 2.5* of five

The Publisher Says: In his most irreverent novel yet, Ryu Murakami creates a rivalry of epic proportions between six aimless youths and six tough-as-nails women who battle for control of a Tokyo neighborhood. At the outset, the young men seem louche but harmless, their activities limited to drinking, snacking, peering at a naked neighbor through a window, and performing karaoke. The six "aunties" are fiercely independent career women. When one of the boys executes a lethal ambush of one of the women, chaos ensues. The women band together to find the killer and exact revenge. In turn, the boys buckle down, study physics, and plot to take out their nemeses in a single blast. Who knew that a deadly "gang war" could be such fun? Murakami builds the conflict into a hilarious, spot-on satire of modern culture and the tensions between the sexes and generations.

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My Review: Six dreadfully bored, dreadfully sociopathic young twentysomething men find each other, and for want of anything better to do, start hanging out. They drink, they eat, they talk at but not to each other, and no one bothers to listen because no one has anything to say that means any-damn-thing in the others' solipsistic brainiverses.

Six dreadfully bored, dreadfully ugly and unloving, unloved thirtysomething women find each other, and for want of anything better to do, start hanging out. They drink, they eat, they talk at but not to each other, and no one bothers to listen because no one has anything to say that means any-damn-thing in the others' solipsistic brainiverses.

One day, one of the men decides, after a horrible sleepless night, to kill one of the women. Thus begins a kind of grisly tontine scheme of murder and reprisal that ends in the death of an entire Tokyo suburb.

Ick. I feel defiled. There is nothing believable about this book, thank goodness, because if there *was* I would be forced to sharpen my longest knife and go out randomly slitting the throats of passers-by.

Ryu Murakami, it would seem, is the Dennis Cooper of the Japanese literary scene, exploring the revolting images that modern Japanese society casts in the funhouse mirror. He's won a boatload of prizes for doing this. All I can think is, Japanese society being so buttoned up and tightly controlled, this kind of transgressive hooliganism carries more of a shock-and-awe sensation than it does in our American laissez-faire emotional environment. All it does for me is make me feel like I've spent several hours with the most absurdly overacting players of overwritten parts in an overwrought melodrama that, while effectively satirizing the anomie and autarky of armed camps that constitute modern societies, loses a lot of its force and impact to sheer overexuberance.

Thank goodness it's short. Fifty more pages and I'd have to mail-bomb the publisher's offices.

OH NO THEY DIDN'T! REMARKABLE WOMEN: Fascinating Facts You Never Knew About Amazing Women!, a juvenile book about women with power

OH NO THEY DIDN'T! REMARKABLE WOMEN: Fascinating Facts You Never Knew About Amazing Women!
ERIC HUANG (illus. Sam Caldwell)
words & pictures/Quarto Group (non-affiliate Amazon link)
$12.99 trade paper, available now

Rating: 4.5* of five

The Publisher Says: In this myth-busting guide to remarkable women past and present, everything you think you know will be proven wrong!

Remarkable women have been at the forefront of history. They’ve changed the world and are leading the way to our future. But how much do you really know about the remarkable women who’ve shaped our world? We all know that. . .

Frida Kahlo made her name as a painter

Jane Austen wrote simple romance novels

Men pioneered scientific breakthroughs in the past

AND that ancient people only worshipped strong male gods. . .

Or did they. . . ? Because. . . OH NO THEY DIDN'T!

Misconceptions about women from the past and present are everywhere, but none of them are true! In Oh No They Didn't: Remarkable Women myths are busted about over 50 remarkable women from politicians to legends, performers, activists, scientists, mathematicians, creatives, and more.

In this fresh and funny guide learn about inspiring women from all over the world as well as their influence on history and popular culture. Stylishly designed and humorously illustrated by Sam Caldwell, Oh No They Didn't: Remarkable Women makes learning fun with unexpected facts and a playful, upbeat approach to non-fiction.

Oh No They Didn't: Remarkable Women is the perfect inspiring guide for ALL young people to learn about the influential women who may have been left out of traditional history books and deserve to be celebrated.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: My mother was my introduction to the waste of potential, and the weight of prejudice, that has plagued women since patriarchy took over the globe. Her (probably sexually, certainly emotionally) abusive father convinced her she was unable to understand math, science, or any other "male" stuff. He forbade her to accept a scholarship to study journalism, another to study acting, because she should get a husband and have babies.

Sadly for her she obeyed, hated her life, and "raised" children whom she neglected and abused...and she wasn't alone. May books like this one teach girls especially, and the boys they'll make lives with too (on current trends compulsory heterosexuality is on the way back, which this book quietly resists), that biology ≠ destiny.

Where we're going; with whom we're going; and even here, note that Motherhood Comes First.

The statement of purpose is quite lively, colorful, and well-judged, IMO.

Okay, they're the universal mother archetypes; but really...?


More to my taste, these are the women engaged in the USE of power...a message we can not afford to skimp on giving to the young.

Lest those darker impulses feel shamed, here are the role models for being angry, and still getting shit done.

That's what the good people of the Quarto Group allow me to share with you in the way of illustrations. I think this subject, empowering girls and normalizing them having and using power, is one we are woefully poor at passing on...it's telling that, when adding this book to my database of books read, not one library of the dozen or so I searched had this book in its collection.

It's up to us, grands and aunts and mothers. We're (surprise, surprise, surprise! in your best Gomer Pyle mental voice) gettin' no help or support for this message from The PTB. This book is part of the Oh No They Didn't! series, and the author penned the mythbusting entry in this series on US Presidents, as well as Pride: A Seek-and-Find Celebration: Adventure Through the History of the Queer Community, aimed at the same age group. You'll clutch your pearls, I'm sure, when I tell you these aren't in my searched library databases, either.

Resist being shoved back into being subservient to a straight white man, and model it for all the youth.

A SHORT HISTORY OF BLACK CRAFT IN TEN OBJECTS, beautiful gift object as well as solid primer on crafts-as-art

A SHORT HISTORY OF BLACK CRAFT IN TEN OBJECTS
ROBELL AWAKE (illus. Johnalynn Holland; afterword by Tiffany Momon)
Princeton Architectural Press (non-affiliate Amazon link)
$12.99 ebook editions, available now

Rating: 4.5* of five

The Publisher Says: Ten beautifully illustrated essays tell the stories of handcrafted objects and their makers, providing inspiration and insight into Black history and craftsmanship.

Black artisans have long been central to American art and design, creating innovative and highly desired work against immense odds. Atlanta-based chairmaker and scholar Robell Awake explores the stories behind ten cornerstones of Black craft, including:

The celebrated wooden chairs of Richard Poynor, an enslaved craftsman who began a dynasty of Tennessee chairmakers.

The elegant wrought-iron gates of Philip Simmons, seen to this day throughout Charleston, South Carolina, whose work features motifs from the Low Country.

The inventive assemblage art and yard shows of Joe Minter, James Hampton, Bessie Harvey, and others, who draw on African spiritual traditions to create large-scale improvisational art installations.

From the enslaved potters of Old Edgefield, South Carolina, to Ann Lowe, the couture dressmaker who made Jacqueline Kennedy's wedding dress, to Gullah Geechee sweetgrass basket makers, to the celebrated quilters of Gee's Bend, A Short History of Black Craft in Ten Objects illuminates the work of generations of Black craftspeople, foregrounding their enduring contributions to American craft.

BLACK CRAFT AND AMERICANA: Delving into the history of Black skilled artisans, estimated to have outnumbered white artisans five to one in the southern United States in the late 1800s, this unique art history book celebrates handcrafted objects that reflect the dynamic nature of Black culture.

DYNAMIC ILLUSTRATED ESSAYS: Luminous color illustrations by artist Johnalynn Holland highlight beloved craft objects and their makers, creating a fascinating volume to study and treasure.

ART HISTORY EXPERTISE: Author Robell Awake is a notable furniture maker, artisan, and educator whose work has been featured in the New York Times and in group shows at Verso Gallery in New York City and the Center for Craft in Asheville, NC. Dr. Tiffany Momon, who contributes an afterword, is the founder and co-director of the Black Craftspeople Digital Archive and a leading scholar of Black history and African American placemaking throughout the southeast.

BEAUTIFUL GIFT BOOK: The gorgeous design is ideal for art collectors and craft enthusiasts, as a keepsake reminder of Black heritage, for Black History Month and beyond.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: There's a lot to love about Black History Month. One big thing is its use as a goad to look out for Black creators, and creativity centering Black life and experiences, in my otherwise very, very white life. I am an old white man and really appreciate the push to look out for ideas and art I don't see on the regular.

I think you're going to like it. Look:

Laying out the course we'll follow.

So beautiful, the evocation of the spirit of the quilt.


They're stunning as art; they're vital as cultural documents.

This kind of pottery makes my hairs stand up. Such a shot of Truth! It's a personality, it's a real Presence, an avatar of interiority.



Speaking real, home truth there, Dave.


It's a bureau that, as I look at it, is exactly like one Mama had; I wonder if that one was made by a Black craftsman, and I have no way to know....

A beautiful object about beautiful objects. An adornment for the coffee table. The essays aren't exactly stunning prose, or hugely academic; they're tonally appropriate enhancements of one's existing, or good seedstock for one's entirely absent, knowledge base of the long, long tradition of Black art in the craft sphere. Can't quite give it that full fifth star because it's doing its job but not stretching me as a reader; it will others, though.

THE LOST HOUSE, entertaining cold-weather family tragedy story

THE LOST HOUSE
MELISSA LARSEN
Minotaur Books (non-affiliate Amazon link)
$14.99 ebook edition, available now

Rating: 3.5* of five

The Publisher Says: In Melissa Larsen's The Lost House comes the mesmerizing story of a young woman with a haunting past who returns to her ancestral home in Iceland to investigate a gruesome murder in her family.

Forty years ago, a young woman and her infant daughter were found buried in the cold Icelandic snow, lying together as peacefully as though sleeping. Except the mother’s throat had been slashed and the infant drowned. The case was never solved. There were no arrests, no conviction. Just a suspicion turned into a the husband did it. When he took his son and fled halfway across the world to California, it was proof enough of his guilt.

Now, nearly half a century later and a year after his death, his granddaughter, Agnes, is ready to clear her grandfather’s name once and for all. Still recovering from his death and a devastating injury, Agnes wants nothing more than an excuse to escape the shambles of her once-stable life—which is why she so readily accepts true crime expert Nora Carver’s invitation to be interviewed for her popular podcast. Agnes packs a bag and hops on a last-minute flight to the remote town of Bifröst, Iceland, where Nora is staying, where Agnes’s father grew up, and where, supposedly, her grandfather slaughtered his wife and infant daughter.

Is it merely coincidence that a local girl goes missing the very same weekend Agnes arrives? Suddenly, Agnes and Nora’s investigation is turned upside down, and everyone in the small Icelandic town is once again a suspect. Seeking to unearth old and new truths alike, Agnes finds herself drawn into a web of secrets that threaten the redemption she is hell-bent on delivering, and even her life—discovering how far a person will go to protect their family, their safety, and their secrets.

Set against an unforgiving Icelandic winter landscape, The Lost House is a chilling and razor-sharp thriller packed with jaw-dropping twists that will leave you breathless.

I RECEIVED A DRC FROM THE PUBLISHER VIA NETGALLEY. THANK YOU.

My Review: I'll always say yes to cold-weather thrillers. After all, I read, then watched, The Terror with the gruntled hygge of a true Northerner. Now you're waving Bifröst in my face?! Sign me right on up!

The sleuths are, to put it politely, secondary to my enjoyment of the setting. Nora, in particular, grated my nerves like a box-grater does soft cheese. If I met her in meatspace I would either do her grievous bodily harm or turn away in the first moments of listening to her whiny, manipulative BS on her podcast. I was no fonder of Agnes, again finding her crutching of the terrible physical trauma and subsequent drug dependence grounds for whining unpleasant me-me-me behavior. I suffer from grinding chronic pain, am dependent on drugs to continue living, and make a concerted effort not to do what Agnes is helping herself to: Making everything about herself, her pain, her life.

Unpleasant trait in my book. Raised my hackles.

Another hackle-raiser was the author's weird opinion of Icelandic people as credulous...treating Agnes as a sort of avatar or reincarnation of her grandmother, the murder victim, and therefore a carrier of the miasma of bad luck. It seems also a bit on the nose to call the town Bifröst, the name of the rainbow bridge between Earth and the afterlife in Norse myth. I doubt there'd be such a name chosen in Christian Iceland of the nineteenth century or earlier, and the town isn't presented to us as, say, a WWII new-build or something.

Well, anyway, those are the issues that shaved more than a star off my rating...but it's a read I'd tell you to get out of the library soon. I liked the way the author built her atmosphere of distrust at every opportunity. I found it a solid replacement for the identity of the murderer not being in the least surprising.

Bifröst is, pace its nose-thump of a name, a well-realized setting with a readily pictured landscape. It's just enough to get me over the three-star hump. I don't think these characters would, even if they could, draw me into reading a series, but I am not mad I read this book to pleasantly wile away a few hours.

LISTEN TO YOUR SISTER, an exhortation at least two Black men shoulda taken to heart

LISTEN TO YOUR SISTER
NEENA VIEL
St. Martin's Griffin
$12.99 ebook editions, available now

Rating: 4.25* of five

The Publisher Says: For fans of Jordan Peele’s films, Stranger Things, and The Other Black Girl, Listen To Your Sister is a laugh-out-loud, deeply terrifying, and big-hearted speculative horror novel from electrifying debut talent Neena Viel.

Twenty-five year old Calla Williams is struggling since becoming guardian to her brother, Jamie. Calla is overwhelmed and tired of being the one who makes sacrifices to keep the family together. Jamie, full of good-natured sixteen-year-old recklessness, is usually off fighting for what matters to him or getting into mischief, often at the same time. Dre, their brother, promised he would help raise Jamie–but now the ink is dry on the paperwork and in classic middle-child fashion, he’s off doing his own thing. And through it all, The Nightmare never stops haunting Calla: recurring images of her brothers dying that she is powerless to stop.

When Jamie’s actions at a protest spiral out of control, the siblings must go on the run. Taking refuge in a remote cabin that looks like it belongs on a slasher movie poster rather than an AirBNB, the siblings now face a new threat where their lives–and reality–hang in the balance. Their sister always warned them about her nightmares. They really should have listened.

I RECEIVED A DRC FROM THE PUBLISHER VIA NETGALLEY. THANK YOU.

My Review: "Listen to your sister" is the most oddly edged weapon in the arsenal of control. Listen to her wisdom. Listen to her express while she experiences despair. Listen to her, learn how the wisdom comes out of the same swamp as the despair.

Being tasked with responsibilities beyond your capabilities is a common feature in many child-as-custodian tales. Rising to meet the challenge, failing at it, muddling through...well, that's adulthood as parent or guardian or, to be completely honest, any old thing as a legal adult.

What sets this story above most I've read like it, from The Outsiders as a kid on, is The Nightmare. It's a really big part of Calla's quotidian awareness. It's a looming, energy-sapping Presence...éminence grise writ literal...that defines Calla's every waking thought about her ward/little brother. In The Nightmare Jamie dies, and dies, and dies; the most horrific death. Here's Calla, responsible for the life of someone she honestly should never have been if her parents had...well, what? not died? not run away? where are they and why aren't they there?...not, in any event, left her responsible unhelpfully unbackstopped by her other brother, useless Dre.

Now my full attention is engaged. Starting just before the halfway point I began to listen to my own niggling awareness. Permaybehaps this is Calla finding a coping mechanism to make sense of this utter reorientation of her world...permaybehaps she's tuned in to something like a psychic K-Cthulhu...she might simply be going quietly insane...and in the US a young Black woman whose self-image is of being too hefty who's also now responsible for shepherding a teenaged Black man into adulthood alive and unencarcerated when he has a big mouth and a powerful eye for hypocrisy....

I was deeply interested in the way I wasn't answered as I got these musings phrased into questions. I was instead led to ideas about the answers supported in the story. That we see the narrative through all three siblings' eyes lent the book the air of fairness, until you thought a minute about it when Calla's centrality swims into focus ever more clearly. She is the only one who acts for the clearly conceptualized good of the Family, where her brothers (one too young, one too narcissistic) think only of how The Nightmare and its embodiment in their sister affects them. It is through those young men's eyes that The Nightmare feeds into horror. They mock and disbelieve, thinking she's nuts and/or trying to control them.

Sound familiar, Cassandra fanciers? Calla's awful stresses are external, internal, self-inflicted, inevitable for a young woman of color in a deeply racist white world. They're real. They're just fearful imaginings. They can't be taken seriously. Laugh them off.

That goes as well as it usually does when men ignore sound advice from women. As a subject for social horror, I'm hard-pressed to think of a better, more trenchant way to build a story.

What I ended up enjoying the most in this read was less the plot...first novels are almost always a bit baggy at the knees...than Calla's mellifluous voice and her sense of humor. BE AWARE THAT THE N-SLUR IS USED A LOT. I don't like it, this is something I have trouble with from my 1960s childhood where it was used *very*differently* so I want you to know that fact. Mostly, Calla's a smart, funny woman doing a thankless job she wouldn't have had to do had death and abandonment not landed her where she is.

I can't go a fifth star because of the N-slur stuff. It made me think hard about many things, and might should get that five; but not with the (appropriate, well-thought-out) use of N-words.

YMMV, but in any event I encourage you to find out soon.

A HUNDRED YEARS AND A DAY: 34 Stories defies all the Japanese-fiction expectations by embracing the form

A HUNDRED YEARS AND A DAY: 34 Stories
TOMOKA SHIBASAKI (tr. Polly Barton)
MONKEY/Stone Bridge Press
$9.95 ebook edition, available now

Rating: 4.5* of five

The Publisher Says: This ground-breaking collection from Tomoka Shibasaki, author of the acclaimed novel Spring Garden, pushes the short story to a new level.

In these stories of human connection in a contemporary, alienated world, people come together to share pieces of their lives, then part. We meet the women who share a house after the outbreak of war before going their separate ways once it is over; the man who lives in a succession of rooftop apartments; the diverging lives of two brothers who are raised as latch-key kids by factory workers; the old ramen restaurant that endures despite the demolition of all surrounding buildings; people who watch a new type of spaceship lift off from a pier that once belonged to an island resort; and more.

These 34 tales from all over the planet have the compulsive power of news reports, narrated in a crisp yet allegorical style.

I RECEIVED A DRC FROM THE PUBLISHER VIA NETGALLEY. THANK YOU.

My Review: There is a pattern I follow when reviewing short stories: I call it, for convenience, The Bryce Method after my old friend Bryce and his collection-spanning short summary followed by a very short summary and rating of the individual story habits from his blogging days.

Not going to work here.

Thirty-four stories in two hundred pages is problem one; not much between summary and spoiler. Two is these are stories that begin with something I'd call a spoiler: a summary-like paragraph set off from the text, which honestly took a half-star off my overall rating for off-puttingness. I think it's pointless, for these reasons, to use my old method as it would really add to the wall-to-wall spoilers. To avoid a close encounter with the shrieking Spoiler Stasi maniacs, allow me to review the gestalt of the collection for you.

It was fine. Nice prose, I'd say based on a long reading life with more than the usual number of translated works in many genres, quite gracefully translated. Plenty of well-woven-in clues to words that wouldn't translate. A solid, creditable job for a nice book of stories.

Does anything here do something that "pushes the short story to a new level"? No.

Does it really need to? No. Breathless copy does nothing good for this solid, well-crafted collection of short fiction mostly exploring the horrors of trying to communicate with actual other human beings in mutually satisfying connective ways. It's a collection full of fun, if weird, ways for that to fail. It has no central character or group, unlike that Ryu Murakami book I wasn't keen on that did mostly the same thing. It isn't set in one place like Pleasantville, that braided-stories novel I liked so well. In the off-kilter liminal spaces we're in for the whole collection, I'm most put in mind of the way Brian Evenson, in his uneasy style, makes the world feel. These are *not* horror, or even horror-adjacent, stories; instead, they partake of the weirdness and not-quite-ness of horror without any of the sillier trappings.

Polly Barton's ear for, say, how a wisteria vine relates to the wisteria vine it's been entwined with for goddesses only know how long, is the main vehicle for little minds like thee and me to get access to the core of longing and need in each of these very Japanese tales. Will we really know what's what? Not in my experience, and all the more fun to read because of it.

When I finished this read I had to sit a minute and look into my emotional reactor core to see what this bolus of new fuel was doing. I'm impressed that the way Author Shibasaki and her able translator, Polly Barton, never once threw a sucker punch. These stories deliver their intensely meant, unshielded radioactivity to you direct. It's not fussy; it's not overwrought; it's the high-quality story-ore, direct to your well-shielded reactor core to be processed.

I gave it a half-star less than perfect because, in some cases, the oddball opening paragraphs say too much even for me. That's hard to do!

February 2025's Burgoine and Pearl-Rule reviews

Author 'Nathan Burgoine posted this simple, direct method of not getting paralyzed by the prospect of having to write reviews. The Three-Sentence Review is, as he notes, very helpful and also simple to achieve. I get completely unmanned at the idea of saying something trenchant about each book I read, when there often just isn't that much to say...now I can use this structure to say what I think is the most important idea I took away from the read and not try to dig for more.

Think about using it yourselves!

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Tali Girls: A Novel of Afghanistan by Siamak Herawi (tr. Sara Khalili)

Rating: 3.25* of five

The Publisher Says: An intimate look at the lives, loves, horrors, and dreams of girls and women in an Afghan mountain village under Taliban rule

A heartbreaking tragedy in the vein of The Kite Runner from a major English-speaking Afghan figure famous for his books and long career in politics

Siamak Herawi brings Afghan women centerstage and takes us deep into the heart of his motherland to witness the reality of their lives under the Taliban’s most extreme interpretation of Islam. Based on true stories, the result is a sobering and harrowing tale that relates the current ethos of a country under occupation by one power or another for more than half a century.

Told in a direct, conversational prose, this chorus of voices offers us a vivid picture of the endless cycle of the suffering of girls and women in the grip of the Taliban authorities, of the imbalance of power and opportunity.

The central figures illuminate the power of love, friendship, and generosity in the face of poverty and oppression. Their experiences and dilemmas have a visceral power and we become deeply attached to Kowsar, Geesu, and Simin. These are testaments of resilience, hope, courage, and visceral fear, of doors of opportunity opening just a crack that offer a way out.

In Sara Khalili’s vibrant and nuanced translation from the Persian, Tali Girls tears down the curtain and exposes the treacherous realities of what women are up against in modern-day, war-torn Afghanistan.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: Do you believe it can't happen here? Even after the decade of horrible we've endured since 20 January 2025? Read this clear-eyed, scathingly honest book about what happened in Taliban country. The author's used a polyphonic approach to telling stories based on real experiences. It lends an immediacy to the read; it dilutes the emotional investment in the characters. On balance a choice I understand, but don't feel is for the story's best expression. Hence, at the halfway mark, I settled into a rating of 3.25 stars instead of 4.5, which is where I was headed from the off.

Archipelago (non-affiliate Amazon link) charges $16.99 for an ebook. Used paperbacks are cheaper; I think the read is worthwhile and deeply engaging.

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Blood on the Brain by Esinam Bediako

Rating: 3* of five

The Publisher Says: An impulsive, madcap, and newly concussed young woman comes of age as she navigates her Ghanaian American identity, her relationships, and the muddled landscape of history, memory, imagination, and delusion.

Twenty-four-year-old Akosua is easily knocked off her feet. When she falls and hits her head, she’s too preoccupied with her latest dramas to fully absorb the shock. In the span of three months, she has broken up with her boyfriend Wisdom, discovered that her deadbeat dad has moved back to the States from Ghana, and dropped so many classes that she believes she’s the only history grad student in the history of grad students to be registered for just one partial-credit class. Instead of facing her problems, Akosua seeks distraction in Daniel, a “good Ghanaian man.”

But as her head injury worsens, she questions whether she can continue to run away from her father any more than she can keep ignoring her brain and its traumas. Vibrant, funny, and bittersweet, Blood on the Brain is a novel about the complications of family, romance, and culture—and how coming of age can feel like a blow to the head.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: Books about women obsessing over men who clearly do not want to engage with them, will not provide emotional connection for them, and have no interest in or intention of making any changes to step in that direction are unpleasant to me. When the woman in question is quite clearly using every means at her disposal to use that reality as a seriously maladaptive coping mechanism for the wounds inflicted by paternal rejection and neglect from childhood, my blood pressure begins to spike to dangerous levels for a reader who's already had three strokes.

Add in a literal closed-head injury as the catalyst for some nascent stabs at introspection, and we're back at the level of aggravation I felt while viewing 1945's Spellbound, or "severe with spells of acute." I've given it three stars for the very well-used and -placed Ghanaian cultural tidbits, and the flashes of humor I quite enjoyed.

Red Hen Press (non-affiliate Amazon link) charges $9.99 for an ebook.

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GRIMby David Cinnella

Rating: 3.5* of five

The Publisher Says: Gabriel Matthews has always been able to see the Grim Reaper when death is near. Silent and imposing, the Reaper has lingered as a terrifying yet fascinating figure in the teen’s life.

Until now.

When unexpected tragic news arrives, the Reaper offers Gabriel a terrible choice, one that demands everything he has to give, and that will thrust him into a nightmare far worse than he ever imagined.

The cost? His humanity.

As Gabriel spirals deeper into the Reaper’s dark game, the lines between right and wrong blur, and every decision he makes brings him closer to the point of no return. Death, it seems, isn’t just the end. It’s where the true horror begins.

Grim is a chilling tale of sacrifice, morality, and the devastating cost of love. Perfect for fans of Scythe and Death Note, this gripping horror fantasy will haunt you long after the final page.

I RECEIVED A DRC FROM THE PUBLISHER VIA NETGALLEY. THANK YOU.

My Review: A very interesting, well-told thought experiment for anyone who ever wanted with every atom of their being to have someone back. It goes down better as a teen, but I suspect each of us could easily conjure someone we'd take Death's deal to keep.

The horror elements here are of the unscary-to-me supernatural kind. The ethical and moral questions posed are far more interestinfg than any frisson a horror fan might be missing. The author's prose os more than up to the job he needs it to do. I'm not eager for more because it's a change rung on the theme; but a decent one.

The Kindle edition's out Tuesday the 26th; it's $5.99 (non-affiliate Amazon link).

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Three Days in June by Anne Tyler

Rating: 3.5* of five

The Publisher Says: A new Anne Tyler novel destined to be an instant classic: a socially awkward mother of the bride navigates the days before and after her daughter's wedding.

Gail Baines is having a bad day. To start, she loses her job—or quits, depending on whom you ask. Tomorrow her daughter, Debbie, is getting married, and she hasn’t even been invited to the spa day organized by the mother of the groom. Then, Gail’s ex-husband, Max, arrives unannounced on her doorstep, carrying a cat, without a place to stay, and without even a suit.

But the true crisis lands when Debbie shares with her parents a secret she has just learned about her husband to be. It will not only throw the wedding into question but also stir up Gail and Max’s past.

Told with deep sensitivity and a tart sense of humor, full of the joys and heartbreaks of love and marriage and family life, Three Days in June is a triumph, and gives us the perennially bestselling, Pulitzer Prize–winning writer at the height of her powers.

I RECEIVED A DRC FROM THE PUBLISHER VIA NETGALLEY. THANK YOU.

My Review: Gail's me: Needs a much more effective social filter, has a complicated past full of times said filter could've prevented...unpleasant...conflicts with long-lasting consequences, and isn't going to get one. Her complicated life gets moreso when her ex shows up the day before their daughter's wedding, sunnily expecting her to fix his issues (again), just as she's reeling from personal disappointment and their daughter's untimely news about the groom in the scheduled wedding.

I'm being coy about the problem her daughter drops on her because it is The Point, and spoiling it will genuinely make the read utterly pointless, sort of like The Crying Game. (Not a hint!) In Tyler's hands it's a short but fun ride, a solid character study, and really quite poignantly amusing. All missing stars are for the goddamned c-a-t.

Knopf (non-affiliate Amazon link) says "$14.99 please" at checkout.

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The Best Strangers in the World: Stories from a Life Spent Listening by Ari Shapiro

Rating: 3.5* of five

The Publisher Says: INSTANT NEW YORK TIMES BESTSELLER

“The Best Strangers in the World is a witty, poignant book that captures Ari Shapiro’s love for the unusual, his pursuit of the unexpected, and his delight at connection against the odds.”—Ronan Farrow, Pulitzer Prize-winning investigative journalist and New York Times-bestselling author of Catch and Kill and War on Peace

From the beloved host of NPR's All Things Considered, a stirring memoir-in-essays that is also a lover letter to journalism.

In his first book, broadcaster Ari Shapiro takes us around the globe to reveal the stories behind narratives that are sometimes heartwarming, sometimes heartbreaking, but always poignant. He details his time traveling on Air Force One with President Obama, or following the path of Syrian refugees fleeing war, or learning from those fighting for social justice both at home and abroad.

As the self-reinforcing bubbles we live in become more impenetrable, Ari Shapiro keeps seeking ways to help people listen to one another; to find connection and commonality with those who may seem different; to remind us that, before religion, or nationality, or politics, we are all human. The Best Strangers in the World is a testament to one journalist’s passion for Considering All Things—and sharing what he finds with the rest of us.

I BOUGHT THIS BOOK ON KINDLESALE.

My Review: The Felonious Yam and Muskolini are coming for NPR. Racism and sexism figleafed Muskolini's war on the bureaucrats investigating the wrongdoings of his businesses. The Felonious Yam was heading to jail on multiple counts. They made common cause, so neither would suffer the humiliating legal consequences of their long-running cons against the taxpayers.

Queer journalists like Ari Shapiro were bringing the goodness of US citizens to the public. That doesn't stoke the outrage machine that makes stupid people feel smart, and good about their viciousness; so the institution they serve, NPR, will take them down as the scum that's risen to the top shutters an impartial, evidence-based information source to better aid in hiding their crimes.

HarperOne (non-affiliate Amazon link) would like $11.99 for this memoir. I'm here to say that is a fitting farewell to the smiling face of freedom.

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This space is dedicated to Nancy Pearl's Rule of 50, or "the Pearl Rule" as I've always called it. After realizing five times in December 2021 alone that I'd already Pearl-Ruled a book I picked up on a whim, I realized how close my Half-heimer's is getting to the full-on article. Hence my decision to track my Pearls!

As she says:

People frequently ask me how many pages they should give a book before they give up on it. In response to that question, I came up with my “rule of fifty,” which is based on the shortness of time and the immensity of the world of books. If you’re fifty years of age or younger, give a book fifty pages before you decide to commit to reading it or give it up. If you’re over fifty, which is when time gets even shorter, subtract your age from 100—the result is the number of pages you should read before making your decision to stay with it or quit.

So this space will be each month's listing of Pearl-Ruled books.

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Helpmeet (67%) by Naben Ruthnum

Rating: 3.5* of five

The Publisher Says: It's 1900, and Louise Wilk is taking her dying husband from Manhattan to the upstate orchard estate where he grew up. Dr. Edward Wilk is wasting away from a mysterious affliction acquired in a strange encounter: but Louise soon realizes that her husband's worsening condition may not be a disease at all, but a transformative phase of existence that will draw her in as much more than a witness.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: Beautiful sentences, emotionally evocative imagery, a genuinely affecting story, give this body horror novella all its stars. The quiet emotional truth of loving a person who has wronged you, who will never know their own interior well enough even to know they have wronged you, would have earned it more stars. What I disliked was the truly horrifying body horror. My friend E, who's a horror writer, was even taken by surprise by how affecting these images were. Let him tell you about it:
https://www.youtube.com/watch?v=GV_NskzBfAw

A bridge too far for me, and very sad to say it. This is a creative talent indeed; I'll seek his non-horror work out, see if I can stick that.

Undertow Publications (non-affiliate Amazon link) asks a minimal investment of $4.99 for the ebook.

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The Sower of Black Field: Inspired by the True Story of an American in Nazi Germany (35%) by Katherine Koch

Rating: 3* of five

The Publisher Says: Throughout the Third Reich, millions of Germans pledged allegiance to Adolf Hitler. In the Bavarian village of Schwarzenfeld, they followed an American citizen.

As he struggles to rekindle the faith of a guilt-ridden Wehrmacht veteran, a morose widow, and her grieving teenage son, Fr. Viktor Koch, C.P. is haunted by self-doubt. What is driving him to stay in the Third Reich? Is he following a higher plan, or the mystic compulsion of his German heritage? Exposed to American ideals, his parishioners grow restless under Nazi rule. Relying upon his ingenuity to keep them out of prison, Fr. Viktor solicits aid from an unlikely intercessor-the Nazi charity worker who confiscated his monastery for state purposes.

In April 1945, American liberators make a gruesome the SS have left a mass grave of concentration camp victims on Schwarzenfeld's borders. Enraged by the sight, the infantry commander orders the townspeople to disinter 140 corpses, construct coffins despite material shortages, dig a grave trench, and hold a funeral ceremony-all in 24 hours. If they fail to fulfill this ultimatum, he vows to execute all German men in town.

Fr. Viktor has to pull off a he must convince his countrymen that his followers are not the enemy. Their humanity is intact. And most of all, they are innocent.

I RECEIVED A DRC FROM THE PUBLISHER VIA NETGALLEY. THANK YOU.

My Review: It was my mistake to accept this DRC. It is okay in writing but poor in thinking, in my opinion; valorizing a Catholic priest set me off, but making this little microcosm of unNazi Germans leans into the "Good German" myth I find so...off-putting.

Germans and the Catholic Church have terrible sins of omission and commission to atone for, just like those in the US will when the horrors of the camps come once again to our shores. This book is not that; this book is exculpatory of the few for the crime of indifference committed unapposed, uhectored, unchastized by these good people hiding from the evil that surrounds them. Not good enough for me.

Free to read on Kindle Unlimited (non-affiliate Amazon link) should you be so inclined.

HONEY HUNGER: A Novel, Marilyn Booth's excellent translation of Zahran Alqasmi's novel of Oman

HONEY HUNGER: A Novel
ZAHRAN ALQASIMI (tr. Marilyn Booth)
Hoopoe Books
$18.95 ebook edition, available now

Rating: 4.75* of five

The Publisher Says: A breathtaking novel of longing, uncertainty, and ultimately of hope, written by an International Prize for Arabic Fiction-winning author and an International Booker-prize winning translator

Azzan is a beekeeper in a rural community in Oman. Devoted to tending his bees and searching for wild hives, he encounters Thamna, a lone shepherd woman, on a mountain slope and is captivated by her and her honey-colored eyes. Across the breathtaking vistas of Oman’s remote mountains and plains, Azzan’s troubled past and present unfold. A disappointment to his family, he turns to drink, and ultimately discovers the healing power of his beekeeping, before an accident in which he loses all.

Zahran Alqasmi’s masterful novel thrums forward with a subtle momentum. His lucid, poetic writing conveys a visceral sense of time and place, of the fragile ecologies inhabited by both bees and humans alike, in this intense and compelling novel of loss and hope.

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: Does the old nostrum, "still waters run deep," ring a bell in your cultural education? Azzan is the personification of it. He's quiet on these pages. He's still physically and psychically until summoned into action in service to some need. Author Alqasmi uses his stillness to carefully, incrementally, accustom you to the reality of Oman, of a place he seems to assume you will want to know feel and smell and hear, without intrusive human-ness. Gradually, Azzan's eyes...our cameras onto this sparely furnished landscape...show us more, bring us to the places—in the company that hearken to the quiet sounds that we call "silence" in technology's noisy embrace. Azzan's not a beekeeper by happenstance, either as a character or a PoV.

These are the choices that lead you the audience into the creation of an author whose poetry output outweighs his prose, ten to four; but whose prose garnered him the 2023 International Prize for Arabic Fiction (IPAF) for The Water Diviner; I believe this is the immediate predecessor to this novel in Arabic. It is obvious to me that the quality of the vision here is not a chance sport, an artifact of a talented translator's vision alone. That disappointment has befallen me before when a multiple translation career has yielded...inconsistent...results. Being the first of his works translated into English, I could still be disappointed; it just *feels* like a good bet to make, after reading this story.

I'm sure the idea of beekeeping in a landscape as arid as Arabia is overall seems odd. It is an ancient reality though. Deserts bloom, even if sparingly. Beekeepers are not hugely wealthy anywhere bit seldom lack for work for very long. It is a surprisingly mobile task in this story, one that enables Azzan to be see, hear, participate in, a lot of lives in making his life with bees. The honey they make is the life he leads; but it's also large in the life of the people. The product that makes life just enough less harsh to be fun at times for the people Azzan's belovèd bees serve. His knowledge of the lies, cheats, and kindnesses others never even think they don't know about all revolve around his deep and unwavering interest in and commitment to his charges the bees.

It gives the author a free rein to point up character traits in the narrator's orbit and beyond, for good and for ill; is Thamna, the herdswoman he encounters so fleetingly, an object of obsessive lust, actual love, or simply a fixation because of her novelty in his mostly male world? Does his thinking about bees, those matriarchal marvels without a permanent male presence, and their coveted honey drive or lead his itinerancy? If he's led by it, it makes his questing for wild honey that much more about the world he observes so intently; if driven instead, that condition of needing the honey makes his sharply observant eye that of the exploiter, the taker of all the work of others he is not entitled to have. All of these are within this novel's possible meanings.

Azzan's obsession with bees and their care is, while unusual to the US-fiction reader, an outgrowth of his blighted past. He is a recovering alcoholic in a society that frowns on alcohol use. He has never been a success, felt as though he was enough for or even wanted by those who raised him. It is this strange selfness, this sense of himself as needing and wanting but never receiving unless he takes (as from the bees, his compatriots), that is reinforced by the lyrical language of description that never devolves into possession; rather it settles on taking the product without "owning" the producer, on caring for and feeling committed to the bees, the goats, the donkeys and living among them in place of being their "owner."

Is that the place held by the exploiter, the user, the rentier? Azzan does not give off that vibe; I can still see it in the flow of his honeyed words of praise and appreciation and admiration for the bees. It comes down to the sense the author gives all these people who live among the animals they use; they take on the risks and protect their charges from harms they will all suffer from. In return they exert a right to practical rewards of sustenance.

A man who longs for love he is sure he does not deserve and whose object is safely always independent of his custodial care and capable of being just fine without him sounds to me like a man in need of a perspective check; he's fine how he is, too, just busily denying himself the peace of contentment to punish his perceived failings as received from the eyes and ideas of others.

So with all this praise why not five whole stars? Because these ideas and words of beauty and layers of meaning come with a labor tax of non-Western-standard punctuation and dialogue tags. I don't think that's a bad thing myownself. It does mean I can't five-star flag it for all y'all to pick up and devour ASAP. So many won't work this hard. Heck, even *I* had to read some things over twice to choose meanings that would change depending on to whom I attributed the words.

For me that's fun, for most it's work, so four and three-quarter stars seems fair.

BEARTOOTH, Callan Wink's latest Great Outdoors tale of morally questionable choices

BEARTOOTH
CALLAN WINK
Spiegel & Grau (non-affiliate Amazon link)
SALE $2.99 ebook edition, available now; reg. price $14.99 ebook edition

Rating: 3.25* of five

The Publisher Says: Two brothers in dire straits, living on the edge of Yellowstone, agree to a desperate act of survival.

In an aging timber house hand-built into the Absaroka-Beartooth mountains, two brothers are struggling to keep up with their debts. They live off the grid on the fringe of Yellowstone, surviving after the death of their father. Thad, the elder, is more capable of engaging with things like the truck registration and the medical bills from their father’s fatal illness and the tax lien on the cabin their grandfather built, while Hazen is... different, more instinctual, deeply attuned to the natural world. Desperate for money, they are approached by a shadowy out-of-towner with a proposition and agree to attempt a heist of natural resources from Yellowstone, a federal crime.

Beartooth is a fast-paced tale set in the grandeur of the American West.

I RECEIVED A DRC FROM THE PUBLISHER VIA NETGALLEY. THANK YOU.

My Review: All y'all seem to be lovin' you some Western-set crime shows, like Costner's Yellowstone that lasted six years in a media landscape full of disposable shows. There are other series reads in this setting (eg C.J. Box's Joe Pickett books, Craig Johnson's five-year TV run for Longmire TV show and ongoing novel series) but all of those are borderline copaganda in their focus on police procedural plots, and valorization of the settler-colonial worldview endemic in the men of this family. The brothers in this story, coming as they do into control of valuable natural resouces after their father's expensive death that threatens their grandfather's stolen homestead.

It was pretty hard for me to work up much sympathy for Thad, the brother whose show of privilege leads them into the nightmare of property loss, which they agree to solve, and to restore their stolen "birthright" homestead, by doing things so far beyond the pale of acceptability that I had a lot of trouble pushing through the details to get to the ending.

Animal abuse is rife.

I'm impressed by Wink's ability to evoke the Montana setting with near-hallucinatory clarity. I could feel the unique quality of Yellowstone's air, see the special way light limns the edges of distant objects; I was a lot less excited when the poaching scenes were also evoked as clearly. Hazen, the more nature-oriented brother, still finds it in himself to commit acts I find reprehensible for short-term gain. It's almost always the case that criminals are simply bad at planning and lack foresight; that fits these brothers to a T. They're led into criminality to solve a problem they created with no shred of common sense to their behavior.

What happens is a drawn-out reckoning for the past and against the future. Their long-fled mother, Sacajawea, shows up to add her dose of unpleasantness. I expected to be more led along by the strands of family dissolution and reckoning. Their criminality, the means and motivation for it, led me to finish this short (under 300pp) tale of men acting like kids who need a spanking, in over a week.

I seldom take more than three days to finish 256pp, more often two.

Wink can write. His plotting is logical, his pace is chosen carefully to immerse the reader not whiz past anything. I wish I'd loved it by the end as much as I started out loving it.

Animal lovers are cautioned...the awful things done to them aren't valorized, but still happen with no sense on my part they were being condemned, either.

LOCA, debut found-family novel of New York's Dominican diaspora

LOCA
ALEJANDRO HEREDIA
Simon & Schuster
$14.99 ebook edition, available now

Rating: 3.75* of five

The Publisher Says: From Lambda Literary Award–winning author Alejandro Heredia comes a spellbinding debut about intersectionality, enduring friendship, and found family set at the turn of the millennium in 1999, following two Afro-Caribbean friends as they journey beyond the confined expectations of their home country in the Dominican Republic and begin new lives in New York City.

It’s 1999, and best friends Sal and Charo are striving to hold on to their dreams in a New York determined to grind them down. Sal is a book-loving science nerd trying to grow beyond his dead-end job in a new city, but he’s held back by tragic memories from his past in Santo Domingo. Free-spirited Charo is surprised to find herself a mother at twenty-five, partnered with a controlling man, working at the same supermarket for years, her world shrunk to the very domesticity she thought she’d escaped in her old country. When Sal finds love at a gay club one night, both his and Charo’s worlds unexpectedly open up to a vibrant social circle that pushes them to reckon with what they owe to their own selves, pasts, futures, and, always, each other.

With both friends feeling the same pressures in New York that forced them from their homes, a chance outing at a gay bar introduces Sal to Vance, an African American gay man whose romantic relationship with Sal challenges him to confront the trauma of his past. Through Vance, Charo befriends Ella, an African American trans woman, and Ella’s refusal to be who or what society dictates she should be inspires Charo to reckon with the role she’s grown comfortable in. Sal and Charo soon find themselves part of a queer intersectional community who disrupt the status quo of gender politics and conformity, allowing both to create the family and identities they’ve always longed for.

I RECEIVED A DRC FROM THE PUBLISHER VIA NETGALLEY. THANK YOU.

My Review: "No matter where you go, there you are" meets "The secret of change is to focus all of your energy, not on fighting the old, but on building the new." Socrates and Buckaroo Banzai in one sentence has to be a new record of weirdness even for me. When I read a book with Spanish and English side by side, I'm inspired to make connections. In my daily life I'm surrounded by Spanish-speaking folk, I grew up a denizen of La Frontera, I was taught Spanish in school...read my first foreign-language novel in junior high Spanish class...I am, in short, at home.

That is how this novel felt to me, like a homecoming. I'm upset that many of y'all will avoid the read like it gots the cooties *because* there's another language in it. Some because there's transgender representation. Some because it doesn't center, or to the best of my recollection contain, any wypipo. (Look it up.) Adding to the reasons I liked the read, and others won't, is New York City. That great cultural lightning rod with its century-old antisemitic epithet, its much-maligned by flyover country denizens Harlemness, that haven and home for Others. How that's a bad thing, honestly, is beyond my scope of imagination. I see it like Sal and Charo do, a place not to be defined by others but a place to do one's own defining. How can that be bad?

Sal, who provides the bulk of the narrative, is coming of age in a place as little unlike his home as he can bear. The Latine diaspora in New York City has enough cultural similarity and still enough cover to hide from the ugliness of his past. He's been traumatized, as a queer boy I don't imagine I need to spell it out for you, and feels safer in New York. After all, it's harder to hate people when you don't know them, right? Disappearing into a crowd is safety?

Hmmm. Us oldsters are pretty sure that's fallacious already on first hearing but young people need to learn the hard way. Which explains in part why there are fewer old people than young ones.

1990s New York is the one I remember best. Things were changing and that's utterly ensorcelling to young people seeking personal change. The problem comes when the young person ignores the fact that change isn't a function of location, as Peter Weller memorably says in the clip linked above. Socrates (allegedly; at this distance in time, who really knows who formulated the thought?) elucidates the other issue Sal confronts in his desperate bid to change by escaping what he was told he was. It isn't until he meets a role model for his queerness who, like him, is a Black man but is also from the US, that he begins to *build* an identity not run from a label slapped on him.

Charo might have the harder task. She does NOT want to be a punching bag for some man, in sexual slavery to him and a breeding machine for babies. Guess what. Moving to New York City on the cusp of a new century, a new millennium, doesn't change her less-obvious struggle any more than it does Sal's. Luckily for her, this is a soulbrother she's found, this is a connection they won't break. Sal is a role model for moving forward into being, into crafting, a new self. I expect these kids did just fine for themselves, and that is a great feeling to end a read on.

So why not more stars? Because, even though I get that the chaotic timeline with flashbacks and PoV changes is very much the way we live our lives in reality—complete with intrusive ruminations—fiction needs more order than life to work as a story. This book was, from the get-go, going to be more than one story with more than one main character. What happened was what so often does: One of the characters has more to say to the author than the other. It comes down to page-time. Sal's is the dominant PoV but we're more acquainted with him than really close friends, as a single PoV novel allows us to feel.

The truth is that's not a flaw when it's by design as it is here...we're apparently meant to feel we're conversationally getting to know a person's history and life events...but that carries an inherent issue of diminished investment in that PoV. When we don't focus hard on something, due to different kinds of interruptions in narrative flow, we don't necessarily get the same level of reward for our attention.

It's a braided-stories novel, a set of vignettes with beginnings and middles, whose ends we mostly know from their being flashbacks. It's a valid storytelling technique simply not one I love with the kind of passion I had to invest in this very involving set-up taking place in a world I knew, and remember fondly. So three and three-quarters of a star subjectively awarded.

Objectively I laud this debut novel by an author with a resonant voice, and encourage you to encourage him and his publisher by reading his book.

LIVING IN YOUR LIGHT, sad acknowledgment of power denied, flouted, repressed

LIVING IN YOUR LIGHT
ABDELLAH TAÏA (tr. Emma Ramadan)
Seven Stories Press (non-affiliate Amazon link)
$12.99 ebook edition, available for pre-order

Rating: 4.75* of five

The Publisher Says: A story in in praise of a woman, a fighter, a survivor from the award-winning French-Moroccan novelist known for humanizing North Africa’s otherwise marginalized characters—prostitutes and thieves, trans and gay people in a world where being LGBTQ+ can be a dangerous act.

Shortlisted for the prestigious Prix Goncourt in 2022.

Three moments in the life of Malika, a Moroccan countrywoman is her voice we hear in Abdellah Taïa’s stunning new novel, translated by Emma Ramadan, who won the PEN Translation Prize for her translation of Taïa’s last novel, A Country for Dying.

Malika’s first husband was sent by the French to fight in Indochina, the novel takes place from 1954 to 1999—from French colonization to the death of King Hassan II. In the 1960s, in Rabat, she does everything possible to prevent her daughter Khadija from becoming a maid in a rich French woman’s villa. The day before the death of Hassan II, a young homosexual thief, Jaâfar, enters her home and wants to kill her. Malika recounts with rage her strategies to escape the injustices of history. To survive and to have a little space of her own.

Malika is Taïa’s M'Barka Allali Taïa (1930-2010). This book is dedicated to her.

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My Review: I read Taïa's novels to feel the world as I experience it from a the experience of a true stranger...étranger, foreigner, other, Other, the French don't parse things down near as fine-tipped as Anglophones do...who, like me, believes queer desire runs the world.

Save it, apologists for the inversion of nature that is hetero identity, it's just unnatural or we wouldn't have so many bloody-minded religious and civil laws shoring it up. One doesn't prohibit what people don't like.

As I was saying before that irritated tangent: Taïa’s stories center queer desire, feature queer people, are about things we understand a little differently than hetero people do. It's like a warm blanket in a freezing, windy steppe that isn't for you, doesn't give a shit about your happiness or satisfaction unless it somehow comes up and gives "them" a frisson of what you're expected to endure your entire life in which case shut up and stop bothering "them". This is Taïa’s reality, and thus where his fiction lives. It's a whole lot worse in god-ridden spaces than it currently is in the US.

So how does this relate to a story about Malika, an aging mother of eight whose life is ending, but whose track record is not close to what she ever wanted it to be? Her tragic inflection points are all around collisions with Authority, a thing every QUILTBAGger is deeply, existentially familiar with. She fails to keep her first husband home from the war that kills him, despite it being fought for the same people who have colonized their country. She fails to convince her money-motivated daughter to eschew the colonialist inducement of cash for submission and become a mail in a wealthy French family's service. Lastly, her gay son chooses his identity over her idea of duty to their country after he is raped by men in their neighborhood who claim to hate homosexuals...yet exert their sexual rights as straight men by fucking him...Rape is a crime of power, an abuse of autonomy and self-ownership, not sex itself, of course. That's pretty well established as fact. But someone needs to explain to me, slowly and in simple words, how the sex act they're engaging in makes any sense in this framework, given male penetration requires a physiological state of excitement to a sexual object.

I don't get it. But I'm back on a tangent.

Malika wants her powerful will to be obeyed because she is Right. The problem is she's correct a lot of the time, but that's not enough for her...she must be Right, and that is uniformly fatal to successful imposition of one's will. In a long life of mixed emotional results, that central truth does not come clear for her. It's the human condition to live life backwards, learning more and more as the need for applicable knowledge diminishes. It's the reason to have elders in the family system, expandable to encompass every level of social organization...a thing Malika would've reveled in, but did herself out of by insisting she be seen as Right. The world needs us oldsters to give up our addiction to the powerful substance of Rightness, and accept they're doing it differently now so offer advice without judgment.


As if.

So we read stories. It helps us all make sense of each other, helps us see the humanity in people deeply and fundamentally not-U, in Mitford's 1955 formulation. I'd offer all five stars with a big smile if the story was longer, developing the parts I was most curious about...Malika's time under colonialism would be so fascinating to learn about!...but this récit isn't designed to do that, and as it is written, is a beautiful evovation of a complex woman's life as a second-class partially empowered participant in a wildly passionately tumultuous world.

Her contributions to that world's growth earn my four and three-quarters star rating for their telling here.

THE BEE STING, Paul Murray's calling-card book

THE BEE STING
PAUL MURRAY
Farrar, Straus and Giroux
$12.99 ebook editions, available now

Rating: 3.5* of five

The Publisher Says: From the author of Skippy Dies comes Paul Murray's The Bee Sting, an irresistibly funny, wise, and thought-provoking tour de force about family, fortune, and the struggle to be a good person when the world is falling apart.

The Barnes family is in trouble. Dickie’s once-lucrative car business is going under―but rather than face the music, he’s spending his days in the woods, building an apocalypse-proof bunker with a renegade handyman. His wife Imelda is selling off her jewelry on eBay, while their teenage daughter Cass, formerly top of her class, seems determined to binge-drink her way through her final exams. And twelve-year-old PJ is putting the final touches to his grand plan to run away from home.

Where did it all go wrong? A patch of ice on the tarmac, a casual favor to a charming stranger, a bee caught beneath a bridal veil―can a single moment of bad luck change the direction of a life? And if the story has already been written―is there still time to find a happy ending?

I RECEIVED A DRC FROM THE PUBLISHER VIA NETGALLEY. THANK YOU.

My Review: This book is A Lot. Long, deep, densely packed.

I enjoy reading anything that plays in the quantum fields of many worlds. The idea of one.little.change. making all the difference in one's life is very empowering, as well as nonsense, and honestly hazardous. All of those are reasons we love to mess with it safely in our fiction. Here Paul Murray goes full-tilt boogie down this waterslide, wets us to the bone in the spume of his landing, and completely destroys our hairdos.

Is it good anyway? Well...honestly...yes, but in a curious way no. Want to laugh hollowly at the folly of the merely mortal? Come hither, disciple dearest. Want to process your grief at the titanic (or Titanic) sinking of the life you planned? This is your altar call. Or is the appeal of a stonking novel immersive and redemptive reading? Hie thee hence, pilgrim. Nothing for you here...there is no redemption here, no one's gettin' what they think they deserve before the Apocalypse that's looming calypses. Need rigorous copyediting with Oxford commas, periods, line breaks, and other such embankments to channel the flow of the words? Ite, missa est. No communion cookies for you, though madeleines will be served in the Sodality of Marcel's post-tea.

Digressive is my word for this seemingly Irish specialty of novels (Milkman's another favorite) that don't give a feck for your English rules. Me, I'm down with it, I like things that don't slavishly straiten their gates to some Authority's pre- and proscriptions just cuz. Cry havoc and let slip the dogs of the culture wars! Whatever you do, don't be boring!

That said...well, honestly I found the central thesis of the family tedious and predictable: Dad's crushed, Mom's hogtied and struggling, Junior's got his antennae out so far they can find meaning in electric currents imperceptible to an ammeter, Sis is in thrall to the Mother of All Crushes on the most dreary poseur in all of literature...really, does this need retelling? The Man in the Grey Flannel Suit, To the Lighthouse, The Prime of Miss Jean Brodie, and every Colleen Hoover book ever written fill these separate niches extremely ably...have for most of a century. (It felt like a century passed when I read 102pp of It Ends With Us. *shudder* I {mildly mis-}quote that nasty little creep Truman Capote: "That's not writing, that's typing.")

So my bag was mixed. I loved parts, liked most of it, and was impatiently awaiting liftoff that never quite generated enough thrust to get me over the literary Kármán line. Hence my stingy-feeling 3.5 stars. It might be stingy but it's waaay better than most stuff I read and toss aside. I'm really umpressed with Author Murray's swinging for the fences in all his writing and storytelling. I mean, mad respect for going toe-to-toe with the twentieth century's greats (and megabestselling hack Hoover)! But coming for the monarch isn't safe lest you fail to slay them.

No slaying here, though some serious wounds were delivered.

IMMATERIAL (Undelivered Lectures series), offering a different take on what there is to lose

IMMATERIAL (Undelivered Lectures series)
LAUREN MARKHAM
Transit Books (non-affiliate Amazon link)
$16.99 ebook edition, available now

Rating: 4.5* of five

The Publisher Says: A speculative essay on language in the face of climate catastrophe: how we memorialize what has been lost and what soon will be, pushing public imagination into generative realms.

“I am in need of a word,” writes Lauren Markham in an email to the Bureau of Linguistical Reality, an organization that coins neologisms. She describes her desire to memorialize something that is in the process of being lost—a landscape, a species, birdsong. How do we mourn the abstracted casualties of what’s to come?

In a dazzling synthesis of reporting, memoir, and essay, Markham reflects on the design and function of memorials, from the traditional to the speculative—the Vietnam Memorial in Washington, DC, a converted prison in Ljubljana, a “ghost forest” of dead cedar trees in a Manhattan park—in an attempt to reckon with the grief of climate catastrophe. Can memorials look toward the future as they do to the past? How can we create “a psychic space for feeling” while spurring action and agitating for change?

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: The issue many of us have been braying about for a generation now has burst upon us unmissably. The climate has changed. The results are blatantly obvious and the profiteers, mainly insurance companies and oil companies at the moment, are raking in the money out of your pockets.

The other costs, the ones not as tangible as lost spending power, are still to be named, and still to be felt. Until we can name something, like "spending power," it's nebulous to us as linear-time-trapped people. What name can we give to sights we will never see again? To descendants who can never be born, or can't be kept alive? To lives unlivable, to thoughts unthinkable, because there was/is no one trained, taught, allowed to think them?

Author Markham does the heavy lifting of identifying this dawning reality for us. She asks us to make room in our heads and hearts for an unbearable, unthinkably terrible, loss we're not making room for. It takes a person to speak a truth for it to be recognized. This truth, still nameless, is spoken, and it's now in our collective court to put a stop to our losses before they mount up in reality.

There is something like a haunting, a poltergeist infestation, in the idea of absences as losses. The absence of children unborn, of life...not unlived, nor even unlivable, simply "un"...impossible to experience this void of Reality unless one's alerted to it. Author Markham's essay, tight and compact of duration, carries resonances forward into time for her readers, makes patterns of thought that, now they exist, are indelible. An example of how the "un" is real....

Time's weird at the simplest level...what is it? explain it and how you know what it is, I'll wait...but when bent like this, when folded into a curve that feels untraversable, it begins to feel physical to me. I can respond to time in a new way, not a fun way but a new one, thanks to Author Markham. Immaterial is an ironic title for something that, through its power of observation alone, caused me to concpetualize time as a physical, separate entity from my world. Its positing of conditional loss, of non-existence as a loss, is a powerful insight I'd never have come up with on my own.

I won't get all the way to a fifth star because I felt at times a punch being pulled, an implication she knew was too much being avoided. The rigorous honesty of the piece was incomplete, partial; but I'd be extremely hard pressed to do half so well as Author Markham's done. Don't allow my weird frisson to dissuade you from wrapping your head around her arguments.