Popular opinion says that during the holiday season, people either fall in love or reflect on their past year of life. Sometimes they do both, but it’s hard to manage these conflicting actions at the same time. One is active, expressive, and outward moving. The other is passive, observational, and focused inward.
In a novel about history, about generations, reading Swing Time is like suddenly remembering a song you used to love.
And though all the stories follow different lives and the situations they face, it is Farmer’s simultaneous childlike-wonder and knowing restraint that weave these stories together into one, strikingly cohesive collection.
Post-election, escapism is the only salve when no one can seem to look each other in the eye. David Lida’s newest novel, ONE LIFE, is exactly the dark-humored piece of literature everyone should be indulging in right now.
From the moment he steps onscreen in director Michael Grandage’s Genius Thomas Wolfe (played by Jude Law) is an aberration. At 6’5, the writer was literally larger than life. He often worked hovering over a refrigerator-cum-writing desk.
In the ruins of Moria, at a fork in the mountain tunnels, Gandalf explains to Frodo how the burden of carrying the ring to Mordor was passed to him. The word he uses? “Encouraging.” Tough to swallow, but Frodo learns if it weren’t for him, there would be no one else, that he therefore must possess some quality otherwise unattained or lost by all else, and if that quality does not make him qualified for the mission, then certainly no one else is or will be.
By anchoring his collection around Aaron Kleinhardt, Wheeler creates subtle connections. The stories feel linked in an understated but solid way, creating a canvas with more depth than any one short story alone could give. Wheeler’s characters are people we know.
Anne Valente’s debut novel, Our Hearts Will Burn Us Down, does not begin with the shattering moment when Caleb Raynor enters Lewis and Clark High School and opens fire—a moment that surely warrants the dimming of the lights, the rising of a curtain. But no, in Valente’s narrative, the shooting has already happened; it’s what gives her tale the sense of in medias res.
The protagonist in D. Foy’s second novel is that angry young kid whose pain and shame he cannot express except in strange orthogonal ways, ways that will only deepen his pain and shame, not alleviate them. But Foy allows us inside that boy’s beleaguered brain box and we feel every horrible sensation he is prone to…
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