These tales of things that go bump in the night also pay tribute to the Choctaws’ preservation of their culture.
A chilling collection of stories about the tricksters and other beings of Choctaw lore who refuse to be forgotten.
When homicide detective Monique Blue Hawk thinks she’s encountering a deer in “Kashehotapolo: The Deer Man,” she makes a startling discovery: “It stepped into the clearing. Her jaw dropped. She looked lower and with a start realized that the buck did not have a deer head. She saw an old man’s face, furred like a deer, wrinkled and passive.” Kashehotapolo is one of the entities in the Choctaw pantheon, and Choctaw historian and writer Mihesuah explores the interactions of humans with these various beings in tales blending folklore with ghost stories, detective fiction, and other genres. Some are set in the years before and after the Chahtas, or Choctaws, were forced to leave their homelands and migrate west in the 1830s. Mihesuah explains in a note how the supernatural creatures in their belief system followed them west, too. Some, like the shampe—a version of Bigfoot—seem frightening but are harmless, while others are truly menacing. That includes the shape-shifting Elus Crow in “The Cornfield,” a story that wouldn’t feel out of place in a Stephen King collection. Alive for centuries, Crow, who’s an evil opa, or horned owl, preys on lost travelers who come upon his remote farm. His “helpful” directions to the main road always send them into one of his witch holes, the perfect place to keep them until he’s ready for his next meal. Some creatures, like the Little People, seem motivated more by mischief than malevolence. Others demonstrate a desire to protect Choctaw heritage, as one unfortunate young professor learns in “Tenure” after falsely claiming Choctaw lineage to further his academic career. The author’s years of research richly inform these tales, and she keeps the superlatives to a minimum—her subject matter is fantastic enough without them. Surprisingly, many of these stories resolve in satisfying ways, if not with an outright happy ending, and the author says in an introduction that “composing fictional stories about real-life histories allows me to create the endings that I want to see, and the act of facing scary cosmological creatures with a keyboard also gives me some control over what I fear.”
These tales of things that go bump in the night also pay tribute to the Choctaws’ preservation of their culture.Pub Date: Oct. 8, 2024
ISBN: 9780806194677
Page Count: 178
Publisher: Univ. of Oklahoma
Review Posted Online: July 10, 2024
Kirkus Reviews Issue: Aug. 15, 2024
A tender and moving portrait about the transcendent power of art and friendship.
An artwork’s value grows if you understand the stories of the people who inspired it.
Never in her wildest dreams would foster kid Louisa dream of meeting C. Jat, the famous painter of The One of the Sea, which depicts a group of young teens on a pier on a hot summer’s day. But in Backman’s latest, that’s just what happens—an unexpected (but not unbelievable) set of circumstances causes their paths to collide right before the dying 39-year-old artist’s departure from the world. One of his final acts is to bequeath that painting to Louisa, who has endured a string of violent foster homes since her mother abandoned her as a child. Selling the painting will change her life—but can she do it? Before deciding, she accompanies Ted, one of the artist’s close friends and one of the young teens captured in that celebrated painting, on a train journey to take the artist’s ashes to his hometown. She wants to know all about the painting, which launched Jat’s career at age 14, and the circle of beloved friends who inspired it. The bestselling author of A Man Called Ove (2014) and other novels, Backman gives us a heartwarming story about how these friends, set adrift by the violence and unhappiness of their homes, found each other and created a new definition of family. “You think you’re alone,” one character explains, “but there are others like you, people who stand in front of white walls and blank paper and only see magical things. One day one of them will recognize you and call out: ‘You’re one of us!’” As Ted tells stories about his friends—how Jat doubted his talents but found a champion in fiery Joar, who took on every bully to defend him; how Ali brought an excitement to their circle that was “like a blinding light, like a heart attack”—Louisa recognizes herself as a kindred soul and feels a calling to realize her own artistic gifts. What she decides to do with the painting is part of a caper worthy of the stories that Ted tells her. The novel is humorous, poignant, and always life-affirming, even when describing the bleakness of the teens’ early lives. “Art is a fragile magic, just like love,” as someone tells Louisa, “and that’s humanity’s only defense against death.”
A tender and moving portrait about the transcendent power of art and friendship.Pub Date: May 6, 2025
ISBN: 9781982112820
Page Count: 448
Publisher: Atria
Review Posted Online: July 4, 2025
Kirkus Reviews Issue: Aug. 1, 2025
SEEN & HEARD
SEEN & HEARD
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.
A falsely accused Black man goes into hiding in this masterful novella by Wright (1908-1960), finally published in full.
Written in 1941 and '42, between Wright’s classics Native Son and Black Boy, this short novel concerns Fred Daniels, a modest laborer who’s arrested by police officers and bullied into signing a false confession that he killed the residents of a house near where he was working. In a brief unsupervised moment, he escapes through a manhole and goes into hiding in a sewer. A series of allegorical, surrealistic set pieces ensues as Fred explores the nether reaches of a church, a real estate firm, and a jewelry store. Each stop is an opportunity for Wright to explore themes of hope, greed, and exploitation; the real estate firm, Wright notes, “collected hundreds of thousands of dollars in rent from poor colored folks.” But Fred’s deepening existential crisis and growing distance from society keep the scenes from feeling like potted commentaries. As he wallpapers his underground warren with cash, mocking and invalidating the currency, he registers a surrealistic but engrossing protest against divisive social norms. The novel, rejected by Wright’s publisher, has only appeared as a substantially truncated short story until now, without the opening setup and with a different ending. Wright's take on racial injustice seems to have unsettled his publisher: A note reveals that an editor found reading about Fred’s treatment by the police “unbearable.” That may explain why Wright, in an essay included here, says its focus on race is “rather muted,” emphasizing broader existential themes. Regardless, as an afterword by Wright’s grandson Malcolm attests, the story now serves as an allegory both of Wright (he moved to France, an “exile beyond the reach of Jim Crow and American bigotry”) and American life. Today, it resonates deeply as a story about race and the struggle to envision a different, better world.
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.Pub Date: April 20, 2021
ISBN: 978-1-59853-676-8
Page Count: 240
Publisher: Library of America
Review Posted Online: March 16, 2021
Kirkus Reviews Issue: April 1, 2021
BOOK TO SCREEN
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