Shelf Awareness for Readers | Week of Tuesday, June 5, 2018 | ||||||||||||||||||
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by Kevin Powers A Shout in the Ruins is Kevin Powers's follow-up to his acclaimed debut, The Yellow Birds. It's an ambitious sophomore effort that draws from more than a century of U.S. history, centering on the legacy of slavery and the Civil War. Beginning in the antebellum South, Powers introduces us to the Reid family: Emily and her father, Bob; and their slaves, Aurelia and her son Rawls. Emily and Rawls grow up in close proximity but separated by a wide gulf. Even as a young boy, Rawls notes that Emily's pain differs from his "in source and scope. While hers came from a rare remonstration by her father, his was inscrutable and vast." As they grow older, they grow farther apart, before being reunited by the cruel plantation owner Levallois and the changes brought on by the Civil War.
The narrative also adopts the point of view of George Seldom, who, as a very old man in 1956 North Carolina, searches for evidence of his childhood. Seldom's parentage and true age are a mystery to him as an orphan coming out of the chaos from the Civil War, and he frequently ventures into the past through recollections of a hard life now approaching its end.
Powers's cast of characters is large for a relatively short book, and one of the pleasures of A Shout in the Ruins is the way it serves as a jumping-off point for a dozen or more separate but interwoven stories from a variety of perspectives. It brushes aside myth and romanticism for a clear-eyed look at American heritage. --Hank Stephenson, bookseller, Flyleaf Books, Chapel Hill, N.C.
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by Tommy Orange In Tommy Orange's brilliant debut novel, There There, 12 people, primarily urban Cheyenne, move toward convergence to attend a big powwow in Oakland--most eagerly, some warily. "We made powwows because we needed a place to be together. We all came... for different reasons. The messy, dangling strands of our lives got pulled into a braid... layered in prayer and hand woven regalia, beaded and sewn together, feathered, braided, blessed and cursed."
Tony Loneman begins the interwoven stories. He has fetal alcohol syndrome, which he calls the Drome. His eyes droop, his mouth hangs open. But he's tall, he's strong, he makes "looking like a monster" work for him. Dene Oxendene is recording urban Native stories. Edwin Black is biracial; he made it through grad school, writing his thesis on the influence of blood quantum policies on modern Native identity and literature written by mixed-blood Native authors. Opal Violet Victoria Bear Shield goes to the powwow to watch her young nephew, Orvil, who has learned to dance watching YouTube videos. Opal's sister, Jacquie Red Feather, a substance abuse counselor, is also on her way to the powwow, 10 days sober.
There There is a fierce story of despair, addiction, recovery and hope, with moments of sweetness and humor. Orange asks what it means to be Indian, Native, biracial--how is identity parsed? In the Gertrude Stein sense, "there is no there there" connotes the absence of homeland. For Orange's people, Oakland is a new "there." His title is also a promise of comfort, but one that proves elusive.
Tommy Orange has written a bold, passionate book that stabs you in the heart. --Marilyn Dahl
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by Jen Beagin Whiting Award-winner Jen Beagin's first novel, Pretend I'm Dead, features the raunchy, antsy, droll and painstakingly proficient housekeeper Mona. After a blue-collar childhood in Torrance, Calif., with an alcoholic father and equally dysfunctional mother, she is placed with distant kin in Lowell ("Hole"), Mass., and pretty much left to fend for herself. By day she cleans the houses of her adopted hometown. By night she works at a pop-up needle exchange, where she meets a disabled addict wearing a tee with Jack Kerouac on the front. Two decades older and living in an SRO hotel, this man she calls "Mr. Disgusting" has a room with real paintings, Indian textiles and shelves of existential and Russian novels--unlike her last boyfriend, "some edgeless dude... whose heaviest cross to bear had been acne." Mona may not know where she's going, but she knows what she likes.
If Mona's uneasy relationship with Mr. Disgusting opens doors to possibility, her housecleaning work grounds her. She's got a vacuum jones ("on applications she listed it as one of her hobbies") to go with the practice of raiding her clients' medicine cabinets. When Mr. Disgusting disappears, he leaves her a letter urging her to escape to New Mexico to start a new life. Why not? After packing her pickup with books and cleaning supplies, she takes off, rents half an adobe casita duplex in Taos, and launches a housekeeping business.
Beagin's debut is grungy and ribald, melancholic and funny. Throw in a little wisdom, schmaltz and a few useful housekeeping tips, and Pretend I'm Dead delivers a real bang for the buck. --Bruce Jacobs, founding partner, Watermark Books & Cafe, Wichita, Kan.
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by Alex Capus, trans. by John Brownjohn In Alex Capus's Life Is Good, Max, a 50-something, married father of three, is cozy in the world he's built for himself. A former writer, he now owns a bar in the small town in Switzerland where he grew up, tending to the needs of his neighbors and old friends after seeing his sons off to school each day. That coziness envelops the book, pulling you into a quiet life--sort of like sliding onto a well-worn couch.
There isn't really a plot. The novel begins when his wife, Tina, departs for a year-long sabbatical in Paris, leaving Max to fend for himself and his nearly-grown sons. Capus (Léon and Louise), however, is more interested in probing the psychology of that departure than using it as the start of a narrative arc. Life Is Good dwells in memory, the stories the narrator tells himself and friends about his marriage, childhood and the history of his hometown.
Given the description one might assume the story is a bore, a navel-gazing look at the life of an established man. But Capus's writing is lively, and Max is just off-kilter enough to make hanging out with him interesting. Plus, at 200 pages, the book makes sure to not overstay its welcome. It's a perfect companion to a snoozy Sunday afternoon, lounging on that well-worn couch. --Noah Cruickshank, adult engagement manager, the Field Museum, Chicago, Ill.
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by Aja Gabel First-time novelist and former cellist Aja Gabel delves deeply into the sacrifice and passion needed to deal with the fiercely competitive world of classical music and into the relationships among four friends who find a way to make it to the top together.
In 1992, four young string musicians form the Van Ness Quartet, trading promising solo careers for the lure of greater fame and fortune as an ensemble. Ambitious, steel-spined first violin Jana knows she thrives best when playing with others. Privileged viola prodigy Henry could become a superstar on his own, but his friendship with Jana keeps him loyal to the quartet. Sweet, gentle second violin Brit has no family and clings to her fellow musicians as a substitute. Daniel, cellist and ladies' man, waits tables to pay for his rented tuxedos and instrument, sometimes resenting his need to work harder than the others to stay in the music business.
The Ensemble follows the Van Ness members over the course of 18 years, through their ups and downs as they win and lose competitions, support and antagonize each other, and find their way home to one another through music again and again. Complex and tender, this slice of life reveals the toll professional music takes on relationships, with its requirement of constant travel, and physically, as the musicians suffer injuries from routine bruises to excruciating arm pain. With its range of topics and core theme of chasing a passion, Gabel's debut will strike the perfect chord with book clubs and readers who love character-driven narratives. --Jaclyn Fulwood, blogger at Infinite Reads
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by Rupert Thomson In Never Anyone but You, Rupert Thomson (The Insult; Katherine Carlyle) re-creates with intimate and emotional detail the lives--and love--of two extraordinary women who lived in the early half of the 20th century: Claude Cahun and Marcel Moore. Claude and Marcel met as teenagers (then named Lucie and Suzanne, respectively). Despite the possible censure they faced at the time, the two fell in love and embarked on a decades-long relationship with one another. In a stranger-than-fiction twist, their clandestine relationship was further covered by the fact that the divorced father of one married the widowed mother of the other, allowing the two women to live together as stepsisters without raising suspicion. While history has better remembered Claude--her self-portraits and writing, in particular, have preserved many of her ideas on femininity and gender norms that are as relevant (indeed, downright revolutionary) today as they were during her lifetime--Thomson brings the love between Claude and Marcel to life by writing from Marcel's perspective. This narrative decision serves two purposes: first, by writing in the first person, Thomson conveys an emotional depth to the relationship that would be lacking if told from without. And second, by maintaining Claude as the subject of another's perspective, the art she's left behind is given further context for those who may seek it out. That being said, the experiences of these two women were so intertwined and interrelated that Never Anyone but You is not so much an accounting of their individual lives and actions, but rather an exploration of their shared life. "Sometimes, though, just sometimes, Claude would become me and I would become her--while making love, for instance, or dancing--and it was unforced and seamless, it was comfortable, this reversing of our roles, this intermingling of our attributes and our desires. I had seen acquaintances of ours notice this capacity in us, and I had watched it arouse their jealousy... they realized that they didn't have anything we wanted, and they took our self-sufficiency as a kind of rejection, or even as an expression of contempt." This intimacy between the two women is born in part from the secrecy of their relationship and their continued dependence on one another for love and support. More importantly, though, it is what gave both a place of inclusivity in a world that wanted to exclude them--because of their gender, their sexuality, their politics, or some combination thereof. Thomson's novels have varied in subject, but his skill as a novelist is on full display in Never Anyone but You. Drawing on historical facts and what is known of Claude and Marcel's personal lives, he has built a richly imagined work of historical fiction that succeeds in capturing the essence of each distinct period of Claude and Marcel's life together: their teenage years in the provincial town of Nantes; the energy and passion of the Surrealist movement in 1920s Paris; the reclusive nature of the women's retreat in Jersey; the fear and apprehension that lay over Jersey during the German occupation of the Channel Islands. Each of these distinct periods serves to provide further context to the complex story of two individual women who defied expectations to live a life of their own creation. This idea of self-determination and creation was central to Claude's art, and so it's perhaps not surprising that it features so prominently in Thomson's novel. But what Thomson succeeds in imagining, with layers of sentiment that make the story resonate across the decades, is the importance of that determination to the very identity of both women. It is the driving force behind Suzanne's decision to stay with Lucie; it is behind their decision to rename themselves upon arriving in Paris in the 1920s; it is what leads them to set up an exceptionally dangerous anti-Nazi propaganda project in Jersey during the German occupation of their home. Perhaps most importantly, it is also central to their love for one another. Marcel recognizes the work Claude has put into making the "constantly shifting construct that was herself," and does everything in her power to preserve that construct, no matter the cost to herself or the forces working against her. Steeped in historical detail, surprisingly timely statements on gender norms and mental health, and suspenseful moments of choice and deliberation, Never Anyone but You is a captivating and heartfelt tale of love and the many shapes it can take. --Kerry McHugh |
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by Jodi Moreno In More with Less, the food blogger behind the popular What's Cooking Good Looking offers recipes and inspiration for clean, whole-food dishes that can be prepared in no more than 30 minutes.
"When you try to make more out of less, something magical happens," writes Jodi Moreno in the introduction to her cookbook. It is magical, indeed, to realize that while Moreno's recipes are simple to prepare and call for a minimal number of ingredients, they promise complex and nuanced flavor palettes. Dishes like Broccoli + Tahini Soup with Broccoli Stem Ribbons, Parsnip Chowder with Garlic Chips, Cucumber Noodle Pad Thai and Coconut Curry Lentil Balls highlight the promise of plant-based foods. A chapter on fish dishes offers highlights like Maple Mustard Marinated Black Cod. Each of the 130-plus recipes in More with Less is, as Moreno puts it, designed to be "versatile and forgiving," meaning dishes can be easily adapted to be dairy-, gluten- and soy-free, depending on readers' tastes and dietary restrictions.
With a comprehensive list of additional resources and a recommended stock list for one's whole foods pantry (and fridge and freezer), More with Less makes whole-food cooking and clean eating a feasible--and flavorful--possibility for home cooks. Moreno's plant-centered dishes and her invitation to play with flavors, ingredients and textures in new and exciting ways will appeal to vegetarians and omnivores alike; even those skeptical of the health benefits of clean eating will find new dishes to explore here. --Kerry McHugh, blogger at Entomology of a Bookworm
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by Richard Munson It's not unusual to find electrical engineers and inventors skewed to the edge of the weirdness spectrum, but Nikola Tesla was in a class all his own, as represented in Richard Munson's illustrated biography, Tesla: Inventor of the Modern. He was a Croatian-born ethnic Serbian immigrant who stood 6'2", weighed 140 pounds, dressed to the nines, spoke eight languages, slept only three hours a day, memorized and wrote poetry, filed 300 patents and mesmerized Wall Street investor audiences with crackling Jedi-like light tubes arcing between eight-foot electrically charged plates. He was like an uber-nerd forerunner of Elon Musk--the charismatic entrepreneur who named his car company after Tesla. On the other hand, Tesla was also a celibate germaphobe, a superstitious numerologist and a lousy businessman who died broke at age 86, in the New Yorker Hotel.
More than just a biography of this strange genius, however, Munson's Tesla is a history of the nascent electric power industry and men like Thomas Edison, George Westinghouse and Guglielmo Marconi, who competed with Tesla to bring the miracle of electricity to the masses. Under license to Westinghouse, Tesla's "alternating current" generator converted the electricity market from Edison's "direct current" limited access system to the ubiquitous power grid in place today.
An inventor's inventor, Tesla never managed to leverage his genius into the wealth that Edison did. And Munson (From Edison to Enron), a Midwest businessman and energy wonk, taps a variety of primary sources, industry trade literature and Tesla's autobiography, My Inventions, to flesh out this enigmatic inventor and contrarian thinker. --Bruce Jacobs, founding partner, Watermark Books & Cafe, Wichita, Kan.
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by Pamela Druckerman American ex-pat and author of Bringing Up Bébé, Pamela Druckerman applies her wit and insight to life in one's 40s, the awkward transitional decade when many individuals shift out of their youth but don't quite enter old age yet. The mother of three says, "I've noticed that men only appraise me on the streets of Paris now if I'm in full hair and makeup." And waiters have shifted from calling her "mademoiselle" to "madame." Determined to understand this disorienting stage, she delves into the finer points of being a grown-up as she travels the winding road of a 40-something adult.
At times she turns up the humor, as in a chapter about arranging a threesome for her husband as his birthday gift, which turns into a freelance assignment for an American magazine. But There Are No Grown-Ups is equally full of heartfelt insights and revelations. Druckerman shares her battle with cancer and celebrates the success of her book. She acknowledges goals she'd like to reach but hasn't quite accomplished yet.
Throughout the book she receives advice and she imparts it. She examines the mysterious decade with sincerity but never takes herself too seriously. Candid and spirited, Druckerman takes the fear out of 40. She offers those facing this decade reason to anticipate it positively, and those who are currently experiencing it--or already have--plenty to reminisce over. There Are No Grown-Ups assures everyone, "vous allez trouver votre place--you will find your place." --Jen Forbus, freelancer
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by Elizabeth Barlow Rogers Elizabeth Barlow Rogers was a married young mother with a master's degree in city planning when she moved to Manhattan in 1964 and fell in love with Central Park. It was good timing, as the 800-plus-acre park needed love. Conceived by Frederick Law Olmsted and Calvert Vaux, who won a design competition in 1858 with their plan for a public park that was also a work of landscape art, Central Park went into decline in the 1960s, an era of poor management and relaxed regulations.
Vandalism, financial shortfalls, political intransigence and accusations of elitism were among the obstacles that Rogers faced during her 20-year commitment to return Central Park to its Olmstedian glory. In 1980, she became co-founder and president of the Central Park Conservancy, a joint public-private enterprise that, although no longer under her leadership, continues as a force for civic good.
Replete with black-and-white and color photos, some providing opportunities for before-and-after comparisons, Saving Central Park: A History and a Memoir has an authorial reserve that prevents it from fulfilling its promise as a memoir, but it's a fascinating and invaluable document of a wildly successful restoration effort. Rogers is at her most vivacious when describing on-the-job challenges, as when the bird-watchers of Central Park protested the Conservancy's removal of several trees in order to reinstate some of the park's original view lines. "A tree war can be a nasty kind of turf battle" are just about the harshest words you'll get out of the endearingly patrician Rogers. --Nell Beram, author and freelance writer
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by Michael Chabon Pops, Michael Chabon's third collection of essays, is a fun-loving meditation on fatherhood. Chabon remembers the small moments between himself and his four children that culminate in a rewarding, albeit sometimes challenging, life as a father. In "Little Man," he grapples with the understanding that his children will become people beyond his complete comprehension while he follows his gifted son around Paris Fashion Week. In "Baseball," he considers what it means to share interests with your children, rather than impose them. These tidbits lead to a final essay that reveals the subtle scars behind his own relationship with his often distant pop, a relationship that Chabon will forever try to outrun as a father himself.
While much of the collection's subject matter could be heavy in tone, Chabon balances these weighty emotional moments with tenderness and light humor. Overall, the collection reads as a concise and breezy reflection on family life, offering insight and entertainment in even doses. Acknowledging that parenthood is not a sitcom subplot, Chabon doesn't shy away from the thornier conversations he's had with his children, recounting a conversation about race in "Tom" and a tutorial on feminism for his son in "Dicktitude." These essays don't offer simple right answers for being a role model (thank goodness), but rather engage with the difficulty in a adroit and gentle way. As a follow-up to Chabon's Moonglow, this collection continues the thread of fatherhood, expectation and masculine domesticity that enlightens so much of his best work. --Alice Martin, freelance writer and editor
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by Carolyn Mackler Five months after the events in the Printz honor-winning The Earth, My Butt, and Other Big Round Things, 16-year-old Virginia still doesn't have it all figured out. She's "fallen out of like" with boyfriend Froggy; BFF Shannon is MIA for the summer; and, worst of all, police have charged her older brother, Byron, with rape. There is one bright spot: Sebastian, a "sea-glass-eyed, long-haired... nonskater artist boy" who makes her "stomach flip." Happiness is fleeting, though, when a twist of fate threatens to ruin their summer romance before it even has a chance to begin.
Virginia breezily shares her insecurities, fantasies and fears in a chatty voice, immediately establishing a rapport with readers, who will likely empathize with her "Entire Family Issues," including when her CEO dad makes her feel like "a lowly employee in his executive universe." Curvy Virginia often feels invisible in her athletic family, but she is often the metaphorical "punching bag whenever [her] parents are stressed," and it's only after both her siblings have disappointed their parents that Virginia finally rises to the top of "The Mike and Phyllis pressure machine."
While Carolyn Mackler's (The Future of Us) The Universe Is Expanding and So Am I delves into sensitive and painful topics, there is also a lot of humor. Virginia's wry observations of her small slice of the world are delivered through brutally honest lists about important things in her life, like her rules for "How to Make Sure Skinny Girls Aren't the Only Ones Who Have Boyfriends" (Rule #2: "Don't act like you're intimately acquainted with all the restaurants within a twenty-block radius of your apartment"). This welcome sarcasm coupled with a frothy romance balances the headier, more emotional topics. --Lana Barnes, freelance reviewer and proofreader
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by Sandhya Menon At 16, Twinkle Mehra is the youngest junior at her Colorado Springs charter high school. Twinkle knows "[s]ome might call people like [her] losers," but Twinkle prefers the term "groundlings"--channeling the poor who stood in front of Shakespeare's stages, unlike the privileged in their "silk feathered hats" comfortably seated at a distance. For much of her life, being "Invisible Twinkle" hasn't been all bad, especially since she had Maddie Tanaka as her best friend. But now that Maddie has left her to join the silk-hatted, Twinkle has plenty of time to figure out why Maddie feels she's not "BFF material" anymore.
For as long as she can remember, Twinkle has wanted to be a filmmaker. With the school's "biggest event of the year," the Midsummer Night festival, approaching, Twinkle gets her chance to take the director's chair. She finds her producer in film critic-wannabe Sahil Roy, who happens to be the brother of the boy Twinkle has been crushing on forever. Difficult truths and painful accusations will need to be resolved, new alliances will be made, secret admirers will be unmasked and Dracula and other monsters will all need to be confronted (and tamed).
India-born, Colorado resident Sandhya Menon's (When Dimple Met Rishi) second teen rom-com, From Twinkle, with Love, clearly celebrates the influence of her self-confessed "steady diet of Bollywood movies." She transfers her filmi devotion to the page as Twinkle tells her story through journal entries addressed to her "fave female filmmakers." Between Twinkle's entries, Menon inserts Sahil's confessional blog and his texts to his best friends, along with mysterious e-mails Twinkle receives from a fan calling himself "N." While Twinkle's is clearly the directing voice, Menon makes sure she gets a diverse, committed supporting cast and crew to help her sparkle and shine. --Terry Hong, Smithsonian BookDragon
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