A welcome, disturbing reminder of the power of magical realism to distort and reveal by turns.
A newly revised translation of Chilean novelist Donoso’s daring, deeply surreal exploration of self, isolation, and Latin American mysticism, including 20 pages of text that was cut from an earlier edition.
A squiggly but unbroken line runs from Kafka’s Metamorphosis through Camus’ The Stranger to this 1970s cult classic and beyond to modern relations like Mariana Enríquez’s Our Share of Night (2023) and Gerardo Sámano Córdova’s Monstrilio (2023). Set in a haunted nunnery overstuffed with grotesqueries, decaying memories, and nightmares both real and imagined, this labyrinthine novel is confounding to understand even as its disturbing imagery and universal dread linger. Combined with a narrator who is so unreliable that his very identity is an enigma, the fragmented narrative heightens the sense of dread and disorientation. In a decidedly nonlinear fashion, we eventually ferret out that the narrator is Humberto Peñaloza, a writer of little means who’s in over his head. He’s been hired by Don Jerónimo de Azcoitía, a wealthy and influential aristocrat being groomed for political office, to write about his family legacy. By the time the story begins, the future senator is obsessed with producing an heir, which his wife, Inés, cannot. Meanwhile, the narrator has somehow become “Mudito”—a supposedly deaf-mute giant banished to one of the Don Jerónimo family’s dilapidated estates, which is now housing 40 outcast women, five orphans, and three nuns. The whole domestic scene doesn’t get any less weird when one deformed child is introduced and the narrator is ordered to hire a menagerie of “first-class monsters,” educators with similar deformities, to look after the offspring, called only “Boy.” With shades of The Island of Doctor Moreau, Don Jerónimo tries alternately to hide and cure his progeny while Humberto/Mudito becomes deeply entwined in the child’s life. Having either fully captured or utterly dismayed his audience by now, Donoso lets his story disintegrate into a surreal mélange of madness, cryptic rituals, and the proverbial abyss staring back. Your mileage may vary.
A welcome, disturbing reminder of the power of magical realism to distort and reveal by turns.Pub Date: April 2, 2024
ISBN: 9780811232227
Page Count: 464
Publisher: New Directions
Review Posted Online: Jan. 5, 2024
Kirkus Reviews Issue: Feb. 1, 2024
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Uneven but fitfully amusing.
Betrayed by her husband, a severely depressed young woman gets drawn into the over-the-top festivities at a lavish wedding.
Phoebe Stone, who teaches English literature at a St. Louis college, is plotting her own demise. Her husband, Matt, has left her for another woman, and Phoebe is taking it hard. Indeed, she's determined just where and how she will end it all: at an oceanfront hotel in Newport, where she will lie on a king-sized canopy bed and take a bottle of her cat’s painkillers. At the hotel, Phoebe meets bride-to-be Lila, a headstrong rich girl presiding over her own extravagant six-day wedding celebration. Lila thought she had booked every room in the hotel, and learning of Phoebe's suicidal intentions, she forbids this stray guest from disrupting the nuptials: “No. You definitely can’t kill yourself. This is my wedding week.” After the punchy opening, a grim flashback to the meltdown of Phoebe's marriage temporarily darkens the mood, but things pick up when spoiled Lila interrupts Phoebe's preparations and sweeps her up in the wedding juggernaut. The slide from earnest drama to broad farce is somewhat jarring, but from this point on, Espach crafts an enjoyable—if overstuffed—comedy of manners. When the original maid of honor drops out, Phoebe is persuaded, against her better judgment, to take her place. There’s some fun to be had here: The wedding party—including groom-to-be Gary, a widower, and his 11-year-old daughter—takes surfing lessons; the women in the group have a session with a Sex Woman. But it all goes on too long, and the humor can seem forced, reaching a low point when someone has sex with the vintage wedding car (you don’t want to know the details). Later, when two characters have a meet-cute in a hot tub, readers will guess exactly how the marriage plot resolves.
Uneven but fitfully amusing.Pub Date: July 30, 2024
ISBN: 9781250899576
Page Count: 384
Publisher: Henry Holt
Review Posted Online: Sept. 13, 2024
BOOK REVIEW
BOOK REVIEW
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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