A lyrical meditation on power, need, and love.
Two women are roiled by loss and desire.
Smith returns to Rome, the setting of her novel The Everlasting (2020), to render, in luminous prose, the lives of two unnamed women, a century apart, grieving, angry, and defiant. Each is engaged in botanical data collection: One, in 1854, assists British botanist Richard Deakin, who aims to record every species of plant growing in the Colosseum. Her father, outraged because she fell in love with a woman, indentured her to Deakin as punishment. In 2018, another woman combs the Colosseum: a graduate student from Mississippi working for a demeaning academic adviser, assigned to compare Deakin’s catalog with flora of the present day. Both women are haunted by loss: one, of her lover, who married; the other, of her mother, an amateur naturalist, who died when she was 15. Her mother taught her that plants “meant something. Not just in the doctrine-of-signatures way, or the yellow-rose-for-friendship way,” but in a deeply spiritual way. The only proof of beauty, her mother believed, “was a piece of living green pushing through a coffin of spring soil.” Smith makes deft use of Deakin’s Flora of the Colosseum of Rome, published in 1855, which combined meticulous botanical descriptions with information on each plant’s medicinal, culinary, and even literary significance. The women collectors are acutely sensitive to shape, texture, and odor and alert, as well, to plants’ cultural connotations and metaphorical richness: “Some plants, like lovers, are parasitical,” one collector reflects. “Naming carries bias, or bias worms its way to names.” The contemporary collector is enraged by the effects of climate change and rampant tourism on the ecology of the Colosseum. Both women rail against the arrogance and sexism that circumscribe their lives: “What does it take,” they ask, “to survive in this world, as a woman, as a weed?” The book is illustrated with delicate drawings by Schermer-Gramm.
A lyrical meditation on power, need, and love.Pub Date: April 18, 2023
ISBN: 978-0-374-60547-6
Page Count: 320
Publisher: Farrar, Straus and Giroux
Review Posted Online: Feb. 7, 2023
Kirkus Reviews Issue: March 1, 2023
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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