Tag Archives: literary fiction

All the Ugly and Wonderful Things, by Bryn Greenwood****

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alltheuglyandwonAnd you thought Fifty Shades of Gray was controversial.  Just remember that you heard it here first: if this novel has legs and gets around, it’s going to create a lot of noise.  I could almost smell the book-burning bonfires as I read the last half. And lucky me, I read it free thanks to Net Galley and St. Martin’s Press, from whom I received a DRC in exchange for this honest review.

Wavy grows up in the North American heartland, smack dab in the middle of nowhere. When you consider it for a moment, that’s obviously the place for a meth lab to be. No sophisticated, well funded cops will sniff around and shut down your operation; there’s plenty of cheap land for the various vehicles and outbuildings such a business might require.

It’s not as if guests are welcome to drop in.

Guests don’t drop in, in fact, but two children do, one at a time, to proprietors Liam and his estranged and dysfunctional wife, Val. First Wavy arrives, a daughter that grows up with instructions never to let anyone touch her, especially her father; next comes little brother Donal, whom Wavy undertakes to raise as best a small child can do, since nobody else is available for either of them. Val struggles with mental illness and has given in to addiction with no struggle at all. Liam lives elsewhere with a small harem of junkie women that he uses sexually and as part of his drug business. When Wavy sees him, he usually yells for one of the women to get her out of there and take her somewhere else. He doesn’t seem to care who she’s with, or what they do with her.

Wavy lives briefly with her grandmother, a nurturing woman who despairs of Val’s habits but is more than willing to take care of her grandchildren, and slowly Wavy begins to bloom. But Grandma is elderly and sick, and she dies. During the brief time Wavy is with her, Grandma teaches her to read the stars. Wavy has a quick, sharp mind, and with just a little encouragement she learns the constellations. They form her only reliable connection to the world, since they are the sole immutable part of her life. Take her to live here; take her to live there. Put her in school; yank her back out. No matter what happens, she can still find Cassiopeia.

Liam’s mechanic and sometime-employee is a man named Kellen. He sees Wavy left like yesterday’s mail by the side of the road and gives her a lift on his motorcycle. To stay on board, she must touch his jacket in spite of what her mother has told her about never touching other people. We all need to be touched, and children of course most of all, and a bond is formed.

As to Kellen, he’s a strange bird, and the reader is never fully informed what his deal is. Is he, as some say, a slow learner? Is he mentally ill? All we really know comes from the inner narrative we hear from him in alternate chapters, and what others say about him. And we know what he does. When Wavy’s parents don’t show up to pick her up from school or to attend parent conferences, Kellen goes. And we know that other members of Liam’s meth crew consider Kellen to be the kind of man that won’t pull the trigger, but will help move the body when the deed has been done.

Sadly, Kellen really is the best parent figure in Wavy’s life. For those that think this is melodramatic nonsense: teach in a low income school district for a decade or two, and then come back and tell me that. Because these kids are out there.

Greenwood is dead smart when it comes to developing character. The peculiar behaviors that Wavy develops along with the period in which her physical development ceases to move forward are right on the money. The author states that portions of the story are autobiographical, and that sounds about right.

The relationship that develops between Wavy and Kellen will cause plenty of fireworks way after Independence Day has passed. Those that have triggers related to anything at all should steer clear. But for the rest, this novel is worth your time and dime. As the relationship between Wavy and Kellen begins to change, readers may lean in, or may want to hurl the book at a wall, but no one will be left unmoved.

This book is available to the public August 9, 2016, but you can order it now.

I Will Send Rain, by Rae Meadows****

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iwillsendrainAnnie Bell could have chosen to marry a well-to-do member of the gentry in her home town, a man with fine china and a full time kitchen servant. Young and buoyant, she chooses love instead, and moves to Oklahoma with Samuel Bell to start a brand new life on the free land that’s been provided. What could go wrong when two young people are strong and dedicated to one another? Oh, it’s an old, old story in so many ways, but Meadows makes it brand new. Thanks to Net Galley and Henry Holt Publishers, I read it free and in advance in exchange for this honest review. It will be available to the public August 9, 2016.

When we join the Bells they are no longer newlyweds; a lot of water has gone under the bridge. They have Birdie, a teenager determined to find a way out of Mulehead, and their younger child Fred, a child beset with heavy health issues. He’s sturdier, however, than the baby that didn’t make it. So Annie and Samuel have had success, some fine fertile years on their farm when the wheat was tall and the rain came when it was needed, but they’ve also endured some heartache. Regardless, every Sunday they gather at the only house of worship in town and send up their thanks and prayers for the blessings of nature, and perhaps to ward off its curses as well.

But then, things deteriorate in a horrifying way. Without the sturdy prairie grasses to hold down the topsoil, it is depleted and finally just blown away in the horrible wind storms that come in terrifying intensity, a veritable hurricane of dust instead of water. There is no insulation that withstands the fierce and immeasurable storms, ones that turn day dark as night and fill every crevice in every home, barn, and public building with a layer of grit. Dust isn’t just on the bed, it’s in it. Dust is everywhere, including inside the lungs of little children. And so it is that Fred is stricken with dust pneumonia, an ailment akin to Black Lung disease but without even a paycheck to show for it.

In the midst of it all, Samuel has a message from God: the rain will come, and Samuel must build a boat. And so as the wheat dies beneath the remorseless sun, as the water is rationed and the cattle grow thin, Samuel goes to the barn and commences planning and building the ark that will save his family from the flood.

Everyone in town is laughing at him, but that doesn’t matter to Samuel; he has heard from God.

Meadows is a clever wordsmith, and her capacity to spin setting and develop character are impressive. Young Birdie is in so many ways her mother all over again, and yet Annie is unable to breach the abyss that separates her from her teenage daughter. Annie has learned a lot and she’s learned it the hard way, through experience; Birdie wants nothing to do with any of it, or with Annie. At times I longed to grab that girl by the shoulders and send her into the kitchen for a chat with her mother, but if I could have done so, she wouldn’t have listened anyway. Hopefully this gives the reader a glimpse of how real these characters became to me.

Most of the way through this compelling novel I was sure it would merit five stars, yet the ending left me dissatisfied. Even if I could explain this without spoiling it for you, I’m not sure what the writer should have done instead, but the denouement felt contrived to me even though in many ways it seemed like a reasonable ending. Perhaps you will feel differently.

You may have read other historical fiction set in the Dust Bowl, but you haven’t read anything like this. Check it out and see what you think. I’d hate for you to miss it.

City of Darkness, City of Light, by Marge Piercy*****

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cityofdarknesscityoflightPiercy is a legend among feminists, and her writing was pivotal in my own development during the late 1970s and early 1980s as a newly-hatched adult. When this title, a novel based on the French Revolution, came out in 1996, I put it on my Christmas list and read it hungrily once I received it. When I noticed that it was released digitally this spring, I scored a digital copy from Open Road Integrated Media and Net Galley in exchange for this honest review. It’s a novel that is definitely worth reading twice.

Piercy is brilliant not only in bringing characters to life—and she did a prodigious amount of work before doing so, reading piles of biographies, memoirs, letters and other documents—but also in conveying the reader to the time and place In question. I think it’s because of this that her novel helped me to understand how such an amazing, incredible thing, the revolution, the democratic impulse that overthrew a monarchy, could end so badly. Dry history texts chronicle the “excesses” of the Jacobins. Say what? How meaningless is that? And it is by being able to see the roles played by key figures in the revolution, including the women that are usually left out, that I can see why the leadership degenerated as it did. An inexperienced working class with no background in how to organize a struggle ultimately paid the price, but in the end, the nation was still better off than it had been beforehand.

Using the grammar and conversational conventions of today for easier access to a popular audience, Piercy transports us back to a time when a life expectancy was less than fifty years for most people; open sewers flowed through the streets of Paris, causing horrible illnesses and a high infant mortality rate; and a starving seven year old child could be publicly hanged for stealing bread.

In fact, the bread riots led by the women of Paris were where it all began.

One thing readers should know if they read this novel digitally is that there is a glossary of sorts, a long list of characters and a few basic facts to identify them, but it’s at the back of the book, so you will want to go over it before you start and then refer back to it when you find yourself confused. The topic is huge, and you may need this cheat sheet, so it’s good to know it’s there. There are so many historical characters here, and if you aren’t fluent in this area, you may lose track of Robespierre, Danton, Madame Roland, and oh of course, Marat. And back then, Camille was a man’s name!

Piercy tells the story using the points of view of a wide range of figures important to this struggle. She gives a fair hearing to the perspectives of those that stood left, right, and center in this conflict, denying a sympathetic ear only to royalty—and even Marie Antoinette is treated with surprising sympathy. I came away feeling as if I knew so much more about the French Revolution and its terrible conclusion when I had read it, and rereading it was even more helpful, because it’s a lot to digest all at once, even if one is already aware of the broad contours of this pivotal time in French history.

When I love a book hard, I push it at everyone that comes within my reach, and I have pushed this particular novel at a lot of people over the years. Given how many times I loaned out my own (purchased) hard cover copy, it’s surprising that it isn’t falling apart, and maybe even more surprising that it’s always been returned to me.

Whether you prefer to read digitally or to purchase a paper copy, City of Darkness, City of Light is the most readable, accessible treatment of the French Revolution that I have seen. The fact that Piercy includes the key role played by women, both among the toiling masses and the elite salons of the intelligentsia makes it even better.

Recommended wholeheartedly to anyone that wants to understand the French Revolution!

The Last Road Home, by Danny Johnson****

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thelastroadhomeThe Last Road Home, bold and impressive new fiction by Pushcart Prize nominee Danny Johnson, came to me free thanks to Net Galley and Kensington Books in exchange for an honest review. It tells the story of Raeford “Junebug” Hurley and his friendship with neighboring twins, Fancy and Lightning Stroud. Junebug is Caucasian; the twins are African-American, politely referred to during that time as ‘colored’ or ‘Negro’. The story is set during the Civil Rights movement of the early 1960’s, but in rural North Carolina, the Klan stands tall and strong and absolutely nothing has changed in terms of race relations. Junebug finds himself riding on the fence rail from hell. This fascinating tale will be available to the public in late July. Those that love good historical fiction should read it.

The book begins with one horrible loss after another. At age 8, Junebug’s parents are both killed in a car wreck, and he goes to live with his grandparents.  His life is pleasant and stable, helping his grandpa run the farm, but then his grandpa dies too. And by the time his grandmother dies, I have decided that the theme of this story must be grief and loss, or given the number of religious references, perhaps there is some sort of Christian redemption theme here. And on both counts, I find I am mistaken. Johnson is a masterful storyteller, and there is nothing simplistic in how this novel unfurls.

For while Junebug has plenty of questions about the religious fervor that pervades small towns of the South during this era, by the time he buries his grandma, he has had it with religion. “The preacher said a prayer, asking the Lord to be with me in this time of grief. I’d had all of God’s shit I could take and didn’t need His sympathy. If he said it was ‘God’s Will’, I might choke him.”

I wanted to stand up and cheer.

At age 15, orphaned and the sole remaining member of his family, he is on his own. “Fifteen was considered adult in farm years.” Lightning leaves home suddenly, unhappy with the limitations placed on Black men in his part of the world. Fancy is left behind, and she is the only friend Junebug has within walking distance of home. As friendship turns to passion, both find themselves occupying a dangerous place in their community. Given that they are cold shouldered simply for appearing in town together to run an errand, the thought of letting their feelings for one another be known is terrifying.  He recalls his grandma’s admonition:

“’Junebug, you need to understand that cruelty and memory have been married together a long time in the South.’”

Johnson does an outstanding job of depicting white neighbors’ responses to the notion that our protagonist is linked romantically with Fancy. At first they are able to maintain the age-old fiction that she is his housekeeper, but she goes home at night, then sneaks back in darkest night to lay beside him. The muted references, little hints given by Caucasian elders nearby to guide the young white farmer away from a liaison that doesn’t fit local expectations, are rendered skillfully. There are a number of really vicious racial epithets tossed casually around by the local landowners, not always even in anger, sometimes in ugly jokes, as this writer knows from childhood experience is the way racists behave when a white supremacist perspective is not something being fought for as an outlier, but rather the dominant, even comfortable, norm. As the book continues, not only anti-Black pejoratives, but also nasty terms regarding Jews and Asians are tossed into the vernacular. None are gratuitous; they are an undeniable part of the setting, which would be revisionist without them.

Fancy and Junebug seem doomed. He tells her, “It feels like my life’s sprung a lot of leaks, and I’m running out of fingers.” She points out that she only has ten fingers too.

I was watching for the pat ending, the comfortable happy fiction that novelists are often drawn toward. Every time I thought I knew where the story was headed, it went somewhere else. Johnson is brilliant at breaking apart stereotypes, making setting real and immediate, and his character development is strong apart from some minor inconsistencies toward the end. And his framework is materialist by and large, showing that our surroundings and role in life shape us in ways we sometimes don’t expect.

Those interested in this period of history or that love excellent fiction should order this book. It will be available to the public July 26, 2016; strongly recommended.

Radio Girls, by Sarah-Jane Stratford*****

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radiogirlsFearless women change history.

Radio Girls is a fictionalized account of the British Broadcasting Corporation and the remarkable women that shaped it. As we near the centennial of women’s right to vote in the USA and the UK, Stratford’s riveting historical fiction could not be better timed. I received my copy free and in advance thanks to Net Galley and Berkley Press in exchange for this honest review. I am overjoyed to be able to recommend this new release unequivocally. You have to read it.

Maisie Musgrave is born in Canada and raised in New York City. Tossed out of the nest without a parachute by unloving family, she makes her way to Britain, the place her heritage began. She wanders into the BBC half-starved and looking for an honest way to pay for her room and board, hoping in the meanwhile to meet a man she can marry for financial security.

At the BBC she meets supervisor Hilda Matheson, who fears nothing:  “Give that woman an inch and she takes the entire British Isles,” a colleague remarks.

Under the firm and commanding wing of Matheson, Maisie’s confidence and talent grow daily. It’s a very good thing, because over the course of time, more will be demanded of her than secretarial skills and errand-running.  My busy fingers marked one clever, articulate passage after another to share with you, but to enjoy Stratford’s fresh, humorous word-smithery, you really need the book itself.

Occasional historical figures drop in—Lady Astor, who was a moving force in the development of the BBC and a champion of women; Virginia Woolf, early feminist writer and crusader. Yet Stratford metes out these references in small enough batches that it’s clear she isn’t relying on them to hold her story together; rather, they are the cherry on the sundae.

Setting of time and place, pacing, and a million twists and turns in plot make this a good read, but it’s the character development that makes it a great one. I found myself wanting to talk to Maisie and cheering her on when she broke through to higher ground personally and professionally. I feared for her when she veered into dangerous waters and nearly wept with relief each time she was able to extricate herself and move forward. There isn’t a slow moment or an inconsistent one, and the protagonist is just the character women need to see right now as we move forward too.

How much of this is based on truth and how much made up for the sake of a great story? Read the author’s notes; she spills it all.

All told, Sarah-Jane Stratford’s historical feminist tale is perfect for today’s modern feminists—and those that love us.

This book is available to the public Tuesday, June 14. Change the screen and order a copy for yourself now. You won’t want to miss it!

 

Britt-Marie Was Here, by Fredrik Backman*****

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BrittmariewashereOh hey, today is Seattle Book Mama’s second birthday! Break open a bottle of sparkling water and toast my humble blog. I’ve done a lot of reading, and so much more is to come.

Britt-Marie is starting a new life after 40 years of marriage, and while she is driving with no destination in particular other than not-home, her car breaks down in a little burg called—wait for it—Borg. While  it’s being repaired, she becomes enmeshed in the life of this small, down-at-the-heels, economically depressed town. It sounds like a lot of stories, but oh, it isn’t. And I was really lucky to score this, a new one favorite, free of charge from Net Galley and Atria Books, in exchange for a fair review.

The beginning didn’t grab me. I incorrectly suspected that there was only one central point to the narrative and we were being hit over the head with it far more than was necessary. But I was fooled, because Backman is a sneaky-smart writer with a wicked sense of humor and a surprisingly philosophical bent. I was amazed at the depths this seemingly simple tale plumbed.

I don’t want to give you too much, and I could easily do it, having once again been carried away with my notes, which number over 300 in my kindle. I kept finding moments that were hilarious, or fascinating, or that just made me think. But here are some broad contours to start: Britt-Marie has lived at home all her life, first with her mother and later with husband Kent, who moved into her flat when they married, and so she has not even changed residence over the course of her life. When she was young she took classes and worked up a resume, but each time she got close to finding employment, Kent persuaded her that she was needed more at home, and so she has never had a job. Not once.

So after decades of marriage she decided not to notice the perfume on his shirt collar when she did the laundry, even though she herself does not wear scent of any kind. But when the woman phoned her home to tell her that her husband had had a heart attack, it became too obvious, too humiliating, and once she knew he was going to recover she tossed some things in a bag and got herself gone.

Now she wants a job, because she is afraid that otherwise she will die alone and no one will miss her. When you don’t show up for work, people notice, and she doesn’t want to pass from the Earth unnoticed and unmourned.

In the beginning some of the most hilarious passages involve socially clumsy, rude, or outrageous things that Britt-Marie does or says without intending harm. She’s clueless, but the further into the story we delve, the more we see more. We see that she is angry, too; she’s afraid of her own anger.

Although she has been taught through lifelong experience that her own needs should come last and that others should occupy the limelight, the residents of Borg, many of whom have plenty of quirks of their own, teach her that she has more value than she had previously realized.

They like her.

As the story progresses, all sorts of unforeseen twists and turns present themselves, and our formerly obnoxious protagonist turns out to have a tremendous amount of heart. I was watching to see whether the plot would become cloying or formulaic, but it never happened. And although the ending seemed a tiny bit contrived, at the same time I liked what it represented.

To learn more, you have to get the book and read it. And here there is great news: this book is available to the public, just released May 3, 2016. Highly recommended to all readers that are female or have women in their lives that mean anything at all to them. Seriously.

Love for Lydia, by H.E. Bates*****

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loveforlydiaHE Bates wrote before, during, and after World War II. Many readers came to his work after seeing a televised version of it.  It was different for me. I am fond of excellent fiction, military history, and short stories, and when I cruised Net Galley and found The Flying Officer X and Other Stories, I took a chance and scored a copy. Once I had read those, I knew I would want to read more of his work when I could. So although I came to this outstanding novel in a different way than most readers, I have to tell you that I loved it every bit as much as they did. Thank you Net Galley and Bloomsbury Reader for the complimentary DRC.  I read multiple books at a time, and I feel a bit sorry for others I read at the same time I read this, because almost everything else looks shabby next to Bates’s work. Those that enjoy great literary fiction, romance, and historical fiction—which this technically isn’t, since it was written during that time rather than later, but the feeling it generates is similar—should get a copy. Once the reader opens it, she is destined to be lost to all other purposes until the last page is turned.

This spellbinding story will be released digitally Thursday, May 12, 2016.

The setting is a small town in Britain, a town with a tannery and small farms. One great house surrounded by beautiful gardens stands aloof from the rest; it houses two elderly single women and their alcoholic brother.

Then Lydia, their niece, comes to live with them.

Lydia’s arrival is cloaked in mystery. She doesn’t talk about her mother. The aunts encourage the belief that Lydia is an orphan, but we later learn that isn’t really true. And at first Lydia, who has been cocooned so carefully that she has no social graces nor any real wardrobe, futzing around in clothing that looks suspiciously like that of her elderly aunts, really needs a trustworthy young mentor close to her own age. After having eyed the local population, the aunts send for the protagonist, young Mr. Richards, whose family fortunes have slid to terrible places. Once the proud owners of considerable farmland, the Richards family is now cramped in a noisy flat that shares a wall—and the attendant noises and smells—with the tannery.

Perhaps the thing the aunts like most about young Richards is his great fondness for flowers, an unusual trait in a young man at the party-animal age. He endears himself to the aunt that gives her attention to the landscaping, commenting on the traits of flowers and making suggestions that create an instant bond between young man and old lady, but Richards is unprepared for what awaits him.

The aunts want him to meet Lydia, and they wonder whether he might take her skating on the lake. He agrees to do so. Lydia has never skated and starts out as if she were a colt trying to navigate a frozen surface, all arms and legs floundering, falling. So he is unprepared for the grace and dignity that soon possess her. They fall in love, and young love proves to be the school of hard knocks for our young man, as it is for so many.

None of this brief outline can provide Bates’s magical facility with words. This blog has reviewed hundreds of books—all read and reviewed by me—and this is one that stands out and that has stood the test of time. Bates transports us to a place we have never been and makes us feel we know it, and its inhabitants, intimately. He also lights on issues like social class and the way those with lifelong privilege might treat those without. But this is not a social justice campaign, it’s a brilliant work of fiction that sizzles in places and scorches in others. Character development is spectacularly done; I have had my nose in half a dozen books since I finished reading this one, yet I still think of Blackie, of Tom, of Nancy, of Alex, and oh of course, of Lydia. The ending is bittersweet yet strangely satisfying.

The vocabulary level that makes for such tremendous depth of character and setting also requires a strong facility for the English language on the part of the reader. Although there are no explicit sex scenes, I don’t recommend handing this novel to your love-struck sixteen-year-old as summer reading unless he or she reads at the college level.

I dare you to find a more engaging love story than this one.

Everyone Brave is Forgiven, by Chris Cleave*****

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everyonebraveisforgivenThis is one of those rare novels that I have passed by multiple times despite all the buzz it has generated, because it looked as if it was out of my wheelhouse. A socialite. Pssh. A British officer. Sure. But eventually the enormous buzz among readers and booksellers made me curious. The last time I had this experience, the novel was The Goldfinch, and once I had begun it I gasped almost audibly at what I had almost let slip away from me. And so it is with Cleave’s brilliant novel, historical fiction mixed with more than a dash of romance.  I was lucky enough to get the DRC free of charge in exchange for an honest review; thank you Simon and Schuster and also Net Galley. This luminous novel is available to the public Tuesday, May 3, and you have to read it. It is destined to become a classic.

Our protagonists are Mary North and Alistair Heath; she is dating his best friend, and he is dating hers.  The night before he is to leave to serve in the British armed forces, a moment flashes between them in which they know they want to be together; when he leaves, each grapples with issues of personal loyalty when thinking of the other.

If talent were a mountain, then Cleave would be Everest. If talent were an island, Cleave would not be Malta, but rather all of Britain. And Cleave’s use of word play, first to show how undaunted British youth were by the challenges ahead, and later in a sharper way as the characters learn terrible things and develop a new definition of what courage looks like, is bafflingly brilliant, the rare sort that makes lesser writers hang their heads and understand—this will never be you.

My primary reservation about this novel was that it dealt with the social elite, and my first thought was oh heavens no.  That poor rich girl is going to have to suck it up like everybody else. But I underestimated Cleave and what he was about to take on; Mary, Alistair, and the secondary characters around them begin with a set of assumptions that under his unerring pen seem not only reasonable, but the sort of normal to which their entire lives have accustomed them. Their cavalier approach to the war, from those that serve from those like Tom who at the outset, believe they will “give it a miss”, is the entitlement that has cradled and preserved them from the realities of the greater world all their lives.

And it’s about to change.

 

Any other city would be chewing its knuckles and digging a hole to hide in.    Alistair    wanted to yell at people: The bullets actually work, you know! What they did not understand was that the city could be extinguished. That every eligible person could die with the same baffled expression that he had seen on the first dead of the war, in those earliest shocking days before the men had learned to expect it. I’m so sorry—I think I’m actually hit.

 

In turns amusing, poignant, tender, and heartbreaking, this is a novel you will want to reserve hours of your most private moments to read. You may find yourself taking an unexpected sick day so that you can finish it. Based on the overall story of the author’s grandfather with changes, added details, and embellishments, all of which the protagonists would agree are first rate, Everyone Brave is Forgiven is an unforgettable story of love, war, and innocence lost.

 

Redemption Road, by John Hart ***-****

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redemptionroadJohn Hart has  loyal readers, but until a friend mentioned his name to me I had not read his work. Thanks go to Net Galley and St. Martin’s Press for the DRC, which I received free in return for an honest review. This title is available to the public May 3, 2016. There are some partial spoilers below that give up events midway through the book, but of course the ending is kept secret so that you may find it for yourself. I rate this novel 3.5 stars and round upward.

Our protagonist is Elizabeth Black, a cop burdened by her profound attachment to Adrian Wall, a former cop sent to prison for a murder she is certain he did not commit, and also to Gideon, the child of the murder victim. On the day Wall is released from prison, Gideon, now an adolescent, lies in wait for him, prepared to shoot the man he believes killed his mother.

All hell breaks loose, and once more Liz is immersed in the case. She has served as surrogate mother to Gideon since his mother’s death; his father is not fit to raise a child, and so she has quietly slipped in and out of that family’s home, preparing meals, purchasing the child’s clothes. She can’t step back from this case, even when ordered by her superiors to do so.

Hart is a gorgeous prose stylist, and his pacing is unbeatable. He does use one very old plot device, and it, along with the subscript, which I will discuss in a minute, and the absolutely impossible denouement are the reasons the final star-and-a-half is denied.  In addition, there is a place in the story—I won’t spoil the specifics—in which Liz is stark naked and leaps into a car without a stitch of clothing on, and no one finds this remarkable. It appears that the writer had intended to get her dressed and overlooked this detail, as did editors.Hart’s facility with setting is lush and matchless; the violence in this novel, thoroughly visceral, tipped my “ick” button a couple of times, and for this reason and others, I may not return to his work. But his talent and skill are unquestionable.

A minor character of considerable interest is the attorney Liz hires to defend those close to her, a very elderly local courtroom legend known as Crybaby Jones. Every time Crybaby said or did anything, my mind lit up like Christmas, it was so endearing and entertaining. I wish he had been given a larger role in the story, but for the most part he was relegated to the sidelines.

Another character of interest is the prison warden, who functions as a local kingpin and terrorizes those around him into instant submission. I disliked the way this character was shaped, because it gave the author a handy way to dismiss the over-the-top violence by local cops and prison guards as the product of one terrible man’s dominance, which gives the reader the false but comforting assurance that when cops get bad, it’s an anomaly. Hart may believe this; I don’t. And this is a part of the subscript that grated on my nerves. Early in the story Liz reflects that it is oh so hard to be a cop “since Ferguson”, sounding the message that those of us that hold cops accountable and question the deaths of children and other weaponless civilians is cruelly unfair to those that wield the badge. My e-reader comment: “Oh boo hoo. Poor poor cops.”

Because this writer spins a good thriller, I attempted to overlook this and another troubling aspect of the subscript, but the second message was hammered home again, and again, and again, the message that any woman that terminates a pregnancy is a baby killer. He goes after this one long and loudly, with Liz recalling the day she “killed her baby” in a sleazy trailer park abortion. If we’d just had the trailer and no other abortion reference it could have been interpreted as a message that abortion should be safe and legal in every state in the USA, including North Carolina, but that is clearly not the author’s intent. He has her tearfully remembering what would have been her due date had she delivered the “child”; she marks her embryo’s birthday-that-wasn’t every year, and mawkishly speculates about what he –oh yes, she knows its gender, although this is not even scientifically possible until the fifth month of a pregnancy– might have liked, his possible activities, preferences, and yada yada.

Have you had an abortion, or known someone that has? I can think of half a dozen women without trying hard, and this is just not how it goes, folks. Nor should it be.

Fiction writers often use story to drive home a political message, because story is such a strong device and delivers such powerful feelings. In the hands of friends, it is admirable and welcome. In the hands of those that wish to dictate what a woman may or may not do with her body, and in the hands of those that would restore the status quo of police terror over Black men and other vulnerable members of our society, it is galling.

To sum up, Hart has created a work of stunning prose and imagery and tremendous suspense. If you lean far enough to the right to be unaffected or even galvanized by the subscript, then this is your book.

The Fat Artist and Other Stories, by Benjamin Hale*****

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thefatartistI like short stories. My Goodreads library tells me I have munched my way through 89 collections and anthologies; yet I can tell you that there is nothing even remotely similar to what Hale offers here. Thanks go to Simon and Schuster and Net Galley for permitting me to view the DRC for the purpose of an honest review. You should get a copy May 17, 2016 when it is released, so that when it is immediately banned by various school boards you will know what they’re screaming about.

The ribbon that binds these brilliant, bizarre tales is that each of them features a social outlier as a protagonist. We start with the airline flight from hell in “Don’t Worry Baby”; you have doubtless flown at least once on a flight with a small child whose mother you long to smack upside the head for her dreadful parenting skills, but this one wins the prize. The second story that deals with Judgment Day didn’t work for me; first there were some hyperliterate science references that zinged right over my head, and then the sick factor got the better of me, and so I skipped that one and moved on to the title story. Having read the rest, I am inclined to chalk that second one up to my own quirks rather than Hale’s skill set.

When I came to “The Fat Artist”, I could only bow in awe. I was overcome with frustration because no one else in my household enjoys literary fiction, and so I couldn’t share. In a nutshell, the protagonist, a performance artist, seeks to eat himself to death while setting a worldwide fatness record. I actually gasped several times while reading this one.

Although the writing within this collection provides outstanding examples of every imaginable literary device, those that teach high school literature would be wise not to place it on classroom shelves unless you work at an alternative school. A very alternative school. A very, very, very…well, hopefully my meaning is clear. There is so much edgy material, from language, to explicit sexual description, to sexual roles and gender ambiguity, that I can see the villagers coming with their torches, their hot tar, their feather pillows. Teachers, don’t do this to yourselves. Get a personal copy; take it home and enjoy it; then pass it on to someone that can be trusted to appreciate it. Seriously.

Four more stories follow, and they’re all strong. “Leftovers” deals with a middle aged man in the midst of an extramarital affair when his problem child unexpectedly appears, ready to ransack the family vacation home for valuables to sell in order to feed his addiction. The way this tale unfolds gives me goose bumps.

The next two tales deal with sexual roles and ambiguity. I came away from “Beautiful Boy”, which made me realize, whether by the author’s intention or not, that men that choose to cross dress only as a diversion are looking at the best of both worlds, never having to confront the glass ceiling because they’ll be at that office meeting clad in their conservative suit and tie like always; it reminds me of white actors that wore black face.

The final story of a troubled brother that lands in the basement of his brother, the MIT researcher, and is provided with a job driving squid from the docks to the laboratory, is as brilliant as all the others, and equally esoteric.

Hale is wholly original, but if I were to compare his writing to any other author, it would be to that of Michael Chabon.

Bring your literary skills to the feast that Hale has laid for you; you will need them.  It’s one hell of a banquet.