Daniel Kelly needs to be the fastest, the strongest and the best. The other members of his swim team call him Barracuda, also the title of Christos Tsiolkas’ new novel. Daniel’s goal is to swim freestyle in the Olympic Games. He is half-Greek and half-Australian and comes from modest roots, but his mother insists he attend an exclusive school where he can be coached by a gifted trainer. Daniel quickly realizes he does not fit in at his new posh school. The boys that come from money are quick to tease. He shields himself from the insults and uses the anger to push through the water even faster. His ever-present drive to succeed deafens him to the instructions of his coach, and Daniel soon finds that his dream of Olympic gold leads to nothing. Consumed by hatred for himself and his modest beginnings, Daniel lashes out, and this incident will have repercussions that will haunt him for the rest of his life.
Like Daniel, Christos Tsiolkas grew up in Australia, the son of Greek immigrant parents. His previous novels have won awards in the South Pacific region, including his previous novel The Slap that won the Commonwealth Writers’ Prize. He shows skill again with Barracuda, a detailed literary masterpiece that only an accomplished writer can deliver. Daniel Kelly is a deeply flawed protagonist, struggling with life and trying to find his place in the world. It is a novel of incredible loss, but also of hope and ultimately redemption. Kelly’s story will resonate with the reader long after reading the final pages. This beautifully written novel should be savored by many a reader and would make a perfect title to discuss with a book group.
Matthew Thomas is a New Jersey high school English teacher who has spent the past decade writing his first novel We Are Not Ourselves. A labor of love well worth the effort, his debut is being heralded as the next major American novel.
The story begins in the early 1950s with Eileen Tumulty, the American daughter of two Irish immigrants. Eileen’s hard-working, barroom-preaching father is trying his damnedest to provide while shunning racetrack bookies. Her mother, reeling from a miscarriage, spends her days drinking herself into a quiet stupor to quell the pain. Eileen is left without anything to call her own, and vows to become empowered and successful as she grows up. We Are Not Ourselves is Eileen’s story as she searches for the American Dream in New York City.
After college, Eileen takes a well-paying job in a city hospital and marries Ed Leary. Ed is a scientist and professor at a community college whose dedication to academic integrity keeps him in the classroom and out of the Dean's office, where Eileen wishes he would be. After months of failed conception, Eileen and Ed are graced with Connell, who grows up pudgy and struggles with body image issues amongst his classmates. Against Ed’s wishes, Eileen decides to move the family out of their comfortable apartment in Jackson Heights and into a large, dilapidated house in the upper-middle class suburbs. She hopes that tasking Connell and Ed with evening home improvements will help bring the family closer, but Connell is preoccupied with developing renown at his new school and Ed is seemingly inundated with his studies. While Eileen achieves her childhood goal of working domesticity, the Learys are not nearly as cohesive as she wishes. Her efforts to bring them together only cause more tension, which, when combined with the everyday tribulations they experience in their personal lives, stress everyone into a state of crisis.
Thomas asks in We Are Not Ourselves if it still counts as the American Dream when it comes with so many hitches and broken promises, and he does so through an incredibly well-developed cast of characters and with beautiful, insightful prose. Contemporary fiction enthusiasts and readers who enjoy deep characterization should not miss this wonderful debut.
A devastating pandemic wipes out the human population in Emily St. John Mandel’s new novel Station Eleven. Kirsten Raymonde was just 8 years old when it happened, but she was one of the lucky ones. Now, she is a member of the Traveling Symphony, a band of artists and musicians that wander from town to town, keeping the works of Shakespeare alive. Her comfort lies in two issues of a gloriously detailed comic book and a glass paperweight that was given to her just before the pandemic began by fellow actor Arthur Leander who died on stage that night while performing King Lear. In a world torn apart by disease, the things that matter most are memories and people.
Station Eleven is a lyrical dystopian novel with compelling and complex characters. The plot transports the reader forward and backward in time, meaning you meet many of the characters at different times in their lives. The central characters connect in ways that become more apparent throughout the course of the novel, and each shines with their own intensity. These connections become more important as the characters face their own mortality and the mortality of those they care about. They hold on to memories of the past, clinging to the world that was as they are forced to face an uncertain future. Although this is dystopian literature, the prose is both graceful and thoughtful and will appeal to a much wider audience. The characters, themes and style would make this a good novel to discuss with book groups.
How are houseguests like fish? They both start to stink after three days, or so the joke goes. The Paying Guests by Sarah Waters and The Quick by Laura Owen, both set in London, are stories involving some houseguests that have truly gone bad.
In The Paying Guests, Francis Wray and her mother live alone in their upper crust dignified home, struggling to keep up appearances. Francis’ father died and her brothers were killed in the War, leaving mother and daughter penniless. To make ends meet, they decide to take in lodgers, euphemistically known as “paying guests.” Young newlyweds Lilian and Leonard Barber make the not-yet-30-year-old Francis feel like life has passed her by, until she begins a surreptitious love affair with one of the Barbers, which ends in tragedy and the courtroom. Waters, a frequent flyer on British writing prize lists, pens a literary thriller that examines the consequences of the societal and moral strictures placed on women in early 20th century England.
Author Owen’s debut novel The Quick opens with motherless siblings Charlotte and James exploring their moldering country estate home. As they grow, James heads off to boarding school and then to Victorian London, leaving Charlotte to a quiet country life with an elderly aunt. James becomes a paying guest at the home of a city widow, sharing lodgings and passion with a former schoolmate. What starts as dreamy period piece takes a sharp turn when James and his lover are attacked by a supernatural being and Charlotte leaves her narrow settled existence to become a vampire hunter. From the elite members-only Aegolius club to the Dickensian working poor, Owen’s vampire world is richly and eerily imagined. Fans of Erin Morgenstern’s The Night Circus or John Harwood’s The Asylum should give The Quick a try.
It’s way past midnight on Christmas Eve and the streets of Philadelphia are littered with the lonely, the unlucky, the unloved. They’re all departing from their sacred mecca hidden amongst the Fishtown warehouses: A run-down jazz club called The Cat’s Pajamas, where the tumultuous house band keeps things hopping, even when they aren’t on stage. Amongst the waylaid wanderers are Madeline, a bright and plucky nine-year-old who refuses to let the world win; Sarina and Ben, who are together conflicted as they pick up where they left off after an estranged high school prom years ago; and club owner Jack Lorca, whose prodigal teenage son, Alex, is instrumental in the night’s electric excitement.
Marie-Helene Bertino’s debut novel 2 A.M. at The Cat’s Pajamas recounts the 24 hours prior, affectionately referred to as “Christmas Eve eve” by Madeline. Readers are treated to intertwining stories of determination in the events leading up to the most memorable night at The Cat’s Pajamas since the house drum kit was set on fire during the band’s performance. By its lonesome, the club is just a sad, dilapidated building, but on nights when the Cubanistas are playing and the city’s detritus flocks through the doors, The Cat’s Pajamas is resurrected to its former glories of jazz’s heyday—it’s part symbiotic relationship, part yuletide miracle.
2 A.M. at The Cat’s Pajamas features stories in which the hostilities of city life are conquered by the solidarity of people who have been destroyed by the very place they inhabit. Stories in which good-natured, wounded people stay afloat by looking out for one another, rather than wallowing and commiserating. It’s a great read for those who enjoy literary fiction or heartening stories of blossom.
Readers will know on page one that something terrible has happened to James and Marilyn's teenage daughter, Lydia. It will be the catalyst that splinters the family to its core and one of several throbbing undercurrents in Celeste Ng's emotionally complex first novel Everything I Never Told You. A Chinese-American family, the Lees stand out for the wrong reasons in their small town of Middlewood, Ohio; there just aren't many biracial families in the 1970s Midwest. With Lydia gone, the family now must reconcile the past with a present that threatens their tenuous ties to each other and to the life they thought they had built.
When James and Marilyn got married they made a pact to let the past drift away. A first-generation Chinese-American, James was used to being the Asian who never fit in. When he meets Marilyn, a pretty white pre-med student, while teaching as a graduate assistant, she represents the acceptance he's been seeking. They marry despite her mother's glaring disapproval. For Marilyn, her dream of attending medical school vanishes when she becomes pregnant. Now, the cultural divide they thought blended away has returned with their daughter's mysterious death. Middle child Lydia was the favorite, the one who would accomplish what they did not: be popular (dad) and grow up to be a doctor (mom). It's a heavy burden, perhaps too much so, not just for Lydia but for the other two Lee children who witness their parents' favoritism. The author, herself a first-generation Asian-American Midwesterner, deftly positions the youngest child Hannah as the astute observer to the family's unraveling and the mystery of her sister's death.
With confident, smooth prose, the Pushcart Prize-winning Ng (pronounced "ing") shifts readers back and forth over time to capture the sympathetic and sometimes frustrating portrait of a family betrayed by cultural expectations and personal loss. Ng's thoughtfully detailed writing and spot-on characterizations carry this literary mystery beyond the solving of a death to what it means to be a family of strangers, hoping to rediscover each other. Jhumpa Lahiri fans will find threads of familiarity in Ng's strong debut.
White chauffer; black NBA star; white girlfriend; black posse; white antagonist; black disposition. There’s a theme present in Chris Leslie-Hynan’s intelligent, unsettling and highly entertaining debut novel Ride Around Shining. Leslie-Hynan complicates things between his main characters to the point where each regretted action will have readers rubbernecking as etherealized commentaries on class, race, and modern-day social hierarchy veil the wreckage. Readers who enjoy literary fiction or complex relationships between main characters should definitely check this one out.
Ride Around Shining follows Jess; a youngish, over-educated, middle-middle class white guy; who revels unknowingly in the twisted gratification of subservience; so much so, that he makes a living delivering carryout in his adopted hometown of Portland, Oregon, where he frequently transports Thai food to budding Trail Blazers small forward and regular customer Calyph West. With his ongoing display of pragmatic indifference and a couple of lies behind his driving chops, Jess manages to establish himself as Calyph’s personal driver.
Initially, Jess is content with the mask of aloofness he dons whenever he is summoned to get the baller and his girlfriend Antonia to their various destinations, but as he spends his days shuttling the mixed-race couple around the city, he begins behaving erratically in a subconscious bid for their attention. At a house party celebrating Calyph’s contract extension, Jess aids the machinations of fate and inflicts his employer with a knee injury that benches him for the entire upcoming season. Motivated by a discomforting mixture of guilt and manic desire, Jess vies to stick with Calyph during his recovery, though it becomes apparent to everyone that Jess has a lot more going on under the hood than Calyph’s car does.
Marina Keegan was an aspiring essayist, playwright and author of short fiction whose talents were burgeoning before she was killed in a car crash in 2012. She was most renowned for her essay “The Opposite of Loneliness,” which was featured in Yale’s 2012 commencement activities. Through the efforts of her family and friends, Keegan’s works have been assembled as a book, also titled The Opposite of Loneliness, a collection which deserves as much celebration as Keegan herself.
Keegan’s fiction is grounded and believable, populated with disarming characters yearning to divulge their intimacies to readers. In “Cold Pastoral,” a girl laments the death of a boyfriend she only recently began dating, and is racked with guilt as she witnesses his ex suffering more than she is. “Challenger Deep,” which portrays a small crew trapped in an unpowered submarine stuck at the bottom of an oceanic trench, is Keegan’s most unsettling, imaginative and beautiful tale.
Keegan’s essays gleam with scholarly poise as she acknowledges the complexities of approaching adulthood with a teenage candor. “Against the Grain” is a reflection on growing up with Celiac’s disease, and the embarrassing safety extremes her mother went to out of love. “Song for the Special” is a gentle reminder of humanity’s diminutive existence in the vast universe we inhabit.
What makes The Opposite of Loneliness so wondrous is not its posthumous publication; each piece is brimming with a nearly unattainable blend of worldly presence and youthful hyperbole. It’s so depressing that Keegan’s talents were stifled at such a young age. This collection resonates in reverie of the marvels that would have been.
Ever find yourself in an ordinary day and yet you feel an unnerving disconnect with others for no obvious reason? David Guterson’s Problems with People: Stories is a collage of individuals who find themselves in such unhinging, if oddly indistinguishable, moments. Reading these 10 tales will make you feel like you are observing a stranger walking into a cold drift of social ineptitude. In “Paradise,” a divorcee, unsure of the future, finds himself in the passenger seat of a Honda Element driven by a silver-haired beauty he met via match.com. A well-meaning man, along with his unshakable cancer-ridden sister, is locked inside a game reserve in South Africa in “Pilanesberg.”
Each story unapologetically illuminates the oscillating and retracting nature of boundaries. These unpredictable lines, which divide cultures and perspectives, often inflict devastating detachment through innocent dealings. In “Krassavitseh,” questions of race and history are raised as a man takes his inquisitive elderly father on a Jewish Tour of Berlin. A benign American in Nepal encounters Maoists blocking roads and an intelligent child with impeccable shoe-cleaning skills in “Politics.” In the poignant story “Hush,” dog walker Vivian Lee finds an unlikely friendship with a stubborn client and his Rottweiler named Bill.
Don’t look for coddling or satisfaction in this collection. The inability to fulfill emotional obligations radiates off the pages. Guterson’s direct prose evokes the feelings of isolation and displacement in contemporary life, but still leaves a faint trace of hope.
Joshua Ferris’ third novel To Rise Again at a Decent Hour is the most interesting story in which the narrator and protagonist is a dentist. It’s the chronicle of Dr. Paul C. O’Rourke, who offers oral care at his practice in New York City. Perhaps as a result of excelling in dentistry, Paul’s social life is nonexistent; he is a middle-aged, single atheist with no children, no pets and no contacts in his smartphone. The extent of his online presence is a scattering of posts on various baseball forums. His idea of “getting out” is staying in and watching the Red Sox game while simultaneously recording it on VHS.
Paul is seemingly content with his complacency, until his office manager discovers someone has made an official website for their practice—complete with staff bios and photos—without their consent. Days later, Paul and his staff are befuddled as someone creates multiple social media accounts in Paul’s name and begins proselytizing. This peculiar case of identity theft is more than slander; the culprit possesses intimate knowledge of Paul, and gradually reveals his secrets through a series of anonymous emails. Annoyed by the harassment, Paul responds to the emails in an attempt to discern the thief’s identity and motive.
What he discovers leads him to a series of introspective questions so existential that he begins to wonder who he really is. To Rise Again at a Decent Hour portrays a man who possesses no true self-identity, and insists on blaming the past and lying to himself to cope with his shortcomings. Ferris develops O’Rourke’s personality through an ongoing series of fantastic soliloquies disguised as the ramblings of an emotionally distraught dentist. Paul finds the unsettling truth to be that an identity thief posting on a faux-Facebook actually knows him better than he thinks he knows himself, and as he meanders between the past and present wondering how he has arrived at this point in his life, a beautifully reconciling narrative forms in his wake.