In Dave Eggers’ The Parade, the reader is not told where the story takes place, other than it is a country somewhere in the Middle East which has been ravaged by war. There is constant danger from renegade rebel factions, requiring very strict security rules for foreign workers who are paving dirt roads to reconnect rural people to urban centers.
The main character, known only as “Four,” works with one other person known as “Nine.” They have virtually no verbal interaction or even eye contact with locals. Small personal connections often tend to encourage desperate, or unscrupulous people to extort, kill, kidnap, or steal from the workers. While any form of anomaly or impediment slows the progress of the road building, Four has always managed to finish his assignments on time. Nine, on the other hand, proves to be irresponsible and negligent: engaging with the locals, eating their food, attending their parties, sleeping with their daughters, and leaving Four and the RS-80 paving machine unsupported. Four manages to pave and yellow-stripe 25 or more kilometers each day on his own, hating Nine more and more as company rules are violated again and again.
Circumstances arise which force Four to trust a local man, Medallion, who offers much needed help. Four is in a constant state of anxiety as questions of ethical right and wrong pile up in his mind. He is not an unkind man, but the breakdown of a postwar society makes these questions hard to answer.
For a short book (less than 200 pages) this leaves an indelible image of the human suffering that goes on well after military troops have been pulled out.
If you entirely missed the
television series originally broadcast in the US on PBS called The
Bletchley Circle a few years ago, I am not surprised. Like me,
you were likely still consuming and enchanted by Downton Abbey, and
had never even heard of The Bletchley Circle. No worries, you
are not alone! I recently discovered it and am very excited to share it
This series that first aired in 2012 was cancelled after its second season broadcast in 2014. Britbox, a channel available for streaming video (both on Amazon and directly from Britbox.com), decided to bring back the series in 2018, producing the third season it would title The Bletchley Circle: San Francisco. Although each season does build on the previous one, each season can also stand alone and make sense, so you do not absolutely have to go in order. The library currently has all 3 seasons in circulation.
This captivating mystery series based on women who worked as code-breakers during WWII, both of UK and US nationalities is unique and powerful. The Bletchley Circle follows four very smart women after The War as they seek to catch serial killers and solve mysterious deaths of female friends or acquaintances, through code & cipher breaking, pattern identification, and intelligence gathering. They prove they have both the nerves and intelligence to be taken seriously by the police with whom they are dissatisfied.
Set in the early to mid 1950s, the women both in the UK and in the US navigate the cultural limitations by pushing back on societal pressures and standing up for themselves until they are heard. Based on the real women of the Bletchley Park code breakers of WWII, this series brings to light the plight of so many women post-war, who found themselves suddenly out of work, society pressuring them to return to their pre-war roles. The supporting characters encourage and celebrate the women’s intelligence and need for something more, as they refuse to disengage from “utilizing their mind,” as they seek purpose, while uncovering truth and finding justice.
This is quite different
from other familiar mystery series. It is worth a look! You just
might find yourself hooked!
There is something beautiful and eerie about the wintry landscape of Iceland, which is why it’s a perfect setting for a murder mystery. In Ragnar Jonasson’s debut, Snowblind, he takes you to an isolated, small fishing town north of Reykjavik.
Ari Thor Arason is a police-officer-in-training from Reykjavik, when he is offered an opportunity that is difficult to refuse – his first job. He moves to Siglufjordur, a small town known for its herring. On the surface, Ari Thor’s new home looks idyllic, with its winding roads and mountains, until two local deaths shake up the town.
Jonasson begins Snowblind with a vivid visualization: “The red stain was like a scream in the silence.” Throughout the book, there are eloquent descriptions of the landscape of Siglufjordur. Readers will feel as though they are walking the snow-filled streets with Ari Thor. When the weather declines and the anxiety around town builds up, the novel takes on a grim atmosphere that one can almost touch. This sense of unease makes Jonasson’s Snowblind a compelling potboiler. Jonasson has mastered how to build tension by creating well-developed characters and wrapping the setting with a claustrophobic feeling.
With a slew of crime fiction getting published nowadays, Jonasson’s Snowblind stands out for its believable characters, sweeping landscapes, and riveting atmosphere.
Sujata Massey followed her Edgar Award finalist book, The Widows of Malabar Hill (2018), with another captivating mystery
featuring the female Bombay lawyer, Perveen Mistry.
Set in 1922, in a remote state of Satapur, a tragedy has befallen
the royal family when the maharaja suddenly dies. Jiva Rao, the maharaja’s
ten-year old son, finds himself the new maharaja. This presents a problem
though since he will not be able to rule the princely state of Satapur until he
reaches the age of eighteen. The widowed maharani Mirabai and the dowager
maharani Putlabai disagree about the young maharaja’s education. Mirabai wants
his son to go to England, while Putlabai insists that her grandson remain in
the royal palace. Perveen soon finds herself involved and quickly discovers that
there’s more to the situation than a simple family dispute.
Moonstone delves into the cultural, political, and social dynamics of 1920s
India. Massey’s novel is filled with descriptions of the breathtaking Indian
countryside, scrumptious food, and fashion of the era. The characters are
well-drawn. Readers will root for Perveen Mistry as she breaks boundaries and
proves that women are capable of greatness. What is most fascinating is how
Massey explores the social divisions found in India’s caste system. Altogether,
Massey’s The Satapur Moonstone gives
us a fascinating glimpse into both the Parsi and Hindu culture as well as the
history of India under British rule. The
Satapur Moonstone makes for a very engaging historical mystery and comes
This short, well researched book is a powerful documentation of precious time lost to prevent climate change. The focus is on the years 1979-1989, a single decade that encompassed the Antarctic ozone hole crisis, and the tremendous flurry of scientific evidence and testimony about rising global temperatures that followed.
It wasn’t just the scientific community raising the alarm. Oil, gas, and coal companies had done their own studies and had known for decades about the climate effects of long term unrestricted extraction and combustion of fossil fuels. Initially, they were on board to begin moving to renewables. In Congress, there was strong bi-partisan support to resolve the ozone hole problem and to take climate change seriously.
George H.W. Bush included in his campaign speeches, a promise to address climate change issues, but after winning, appointed John Sununu of New Hampshire as his Chief of Staff. Sununu perhaps did more than anyone to stymie action. He advised U.S. representatives to global summits not to sign protocols, insisting the science was weak. He ordered NASA scientist James Hansel to submit congressional committee speeches to his office where they were censored and re-written. James Hansen, to his great credit, refused the changes, testifying as a U.S. citizen rather than a government employee.
In 1979, Rafe Pomerance was Deputy Director of Friends of the Earth, based in Washington, D.C. After reading a technical EPA report on coal that said there would be”significant and damaging” changes to the global atmosphere withing two to three decades, he was immediately alarmed. This man, who most of us have never heard of, had widespread connections to all levels of government, from his years with the Sierra Club. He set in motion congressional hearings, press coverage, and the education of legislators by scientists. He and James Hansen are perhaps the original heroes of our growing awareness of our existential peril.
Losing Earth is a very accessible, quick read that you may be tempted to read a second time. Its authenticity and accuracy is based on many dozens of interviews with the major players (scientists, legislators, CEO’s, presidential staffers, etc.) involved in the governmental action and in-action of the 80’s.
Even though the term dystopian was first coined in the 1740s by historian George Claeys, dystopian fiction novels did not become fully defined until the turn of the twentieth century. Written in 1921, Yevgeny Zamyatin’s social satire We laid the foundations for the genre that is now ubiquitous: dystopian fiction.
Zamyatin’s We imagines a future devoid of free-will and individuality. The ruler of OneState, the “Benefactor”, has discovered the equation for happiness—absolute and complete subjugation of the state’s citizens. Within the glass walls of the state, everyone is known by their designated numbers; everyone adheres to a regimented schedule (inspired by the concepts of industrial efficiency by Frederick Winslow Taylor); everyone wears the same uniform; and everyone’s thoughts are regulated by the Benefactor. “Imagination” and “having a soul” become synonymous with the word disease.
Written as diary entries by the book’s narrator, D-503, We’s narrative is erratic and peppered with undertones and ellipses. This may seem like a criticism. But oddly enough, it adds a certain weight to the messages that Zamyatin is trying to convey: first, the significance of human individuality; second, the intrinsic part of what makes us human is our inherent primal instincts; third, a perfect society is unattainable due to humanity’s complicated nature; lastly, in every totalitarian regime, there will always be revolutionaries.
Zamyatin’s We is an emotionally-charged book. As D-503 begins to discover his own individuality and begins to experience cognitive dissonance, the narrative takes on a more hallucinatory and disjointed tone, making the book even more riveting. For such a short novel (less than two-hundred pages), Zamyatin includes a lot of nuance about the human condition and posits questions about human nature and society to which there are no easy answers. It is no wonder that authors like George Orwell took inspiration from Zamyatin’s novel. In this current socio-political climate, We remains as relevant as ever.
Vox by Christina Dalcher
Language and women’s facility with it are the focal points of linguist Dalcher’s chilling dystopian tale and first novel. Jean McClellan and her family live in a U.S. taken over by religious extremists who have forced the female population to wear electroshock bracelets that deliver painful charges to any woman who speaks over 100 words a day. Jean, a scientist whose research centered around a neurological condition that causes aphasia, is forced to watch in virtual silence as her three sons become indoctrinated and her six-year-old daughter tries to speak as little as possible. Jean’s marriage grows strained as her husband goes along with the new regime. She is then offered a potential respite when government officials come to her for help after the president’s brother is diagnosed with the very condition for which she had been seeking a cure before women were forbidden to work. With its focus on the vitality of communication and human interactions, Dalcher’s tale is a fresh and terrifying contribution to the burgeoning subgenre about women-focused dystopias spearheaded by Margaret Atwood’s The Handmaid’s Tale. — Kristine Huntley (Reviewed 7/1/2018) (Booklist, vol 114, number 21, p21)
With apocalyptic fiction having become so popular a genre, how does one approach it with originality, avoiding the too-familiar reference points? Embracing the genre but somehow transcending it, Ma creates a truly engrossing and believable anti-utopian world. Ma’s cause for civilization’s collapse is a pandemic. Shen Fever spreads through fungal spores, causing its victims to lethargically repeat menial tasks, ignoring all external stimuli, including the need for sustenance. Prognosis is terminal. Candace Chen, a rare survivor of the outbreak, blogs anonymously as NY Ghost on a slowly disintegrating internet, capturing the horror of what has happened in her photographs of an empty New York City, where she lived when “the fevered” started dying. The narrative flashes back to Candace’s life before the end, working for a book-manufacturing company in the Bibles department; spending free time watching movies with her on-and-off boyfriend, Jonathan; and longing for the seemingly fulfilled lives of other millennials her age. Candace’s story also crosses that of a group led by a former IT specialist named Bob, who seems to be suffering from a messiah complex. Ma’s extraordinary debut marks a notable creative jump by playing on the apocalyptic fears many people share today, as we live in these very interesting times. Pair Severance with Adam Sternbergh’s similarly disturbing Shovel Ready (2014). — Ruzicka, Michael (Reviewed 6/1/2018) (Booklist, vol 114, number 19, p36)
This first novel from award-winning short story writer Mackintosh is set on the edge of a postapocalyptic world. Three sisters, Grace, Lia, and Sky, live in a moldering spa hotel with their mother and a father called King. The parents have kept the young women isolated from the mainland, where environmental toxicity and gender wars have ravaged the female population; Grace’s pregnancy can only be the result of incest. The hotel somehow has running water and a pool, and the girls languish in shabby luxury. Occasionally, damaged women arrive on the shore, and the mother gives them a water cure , which involves salt water purges and muslin wraps. The tension ratchets up when King fails to return from a trip to the mainland for provisions, and their insulated women’s world is violated when two men and a boy wash up on the beach. VERDICT This image-laden and lyrical first novel, its short chapters interspersed with brief, disturbing messages from women from the mainland, imagines a societal breakdown that has inflicted most of its harm on women, which seems both frightening and inevitable, offering a dark, extended metaphor on toxic male/female relations. [See Prepub Alert, 7/9/18.] –Reba Leiding (Reviewed Winter2018) (Library Journal, vol 143, issue 21, p71)
This is the second book from the creators of The Adventure Zone roleplaying game podcast, the McElroys. The first one was set in a middle earth type environment and this one is now on a train (still with wizards and elves, but now there are trains involved). The first book was a hilarious send-up of D&D type games and this one makes jokes about mysteries and whodunits. Taako, Merle, and Magnus are back and on a mission to retrieve a lost (and powerful) artifact that is believed to be on the Rockport Limited train. Mishaps befall them, jokes are made, and a lot of laughter is had by all. Not as good as the first novel, but still a lot of fun.
The artwork by Carey Pietsch is detailed and humorous and really works with the RPG elements of the game, like having the Game Master pop up in little bubbles when he has to tell the players something. Aimed at teens and adults, there is some profanity and gore involved, but nothing over the top. A definite purchase for any YA or Adult graphic novel section where RPG games are big.
Fascinating…disturbing…erudite…poetic…detailed…richly historical…painfully honest, and revealing all describe Garber’s memoir. I read her story with rapt attention as her brilliant, but often maniacal father, renown architect Woodie Garber relentlessly bent and enslaved his family to his will and whims.
Woodie Garber was a Modernist and adherent of the French architect Le Corbusier. His designs were flat roofed, and glass walled, making use of wood and stone in the interiors. Elizabeth Garber describes their home, when viewed from a distance at night, as being like an ocean liner with all lights blazing. Woodie’s designs can be seen around the city of Cincinnati. He designed the city’s public library as well as the towering, and much criticized Sander Hall, a 27 story glass-paneled dormitory, at the University of Cincinnati. Years later it was imploded.
Elizabeth’s father educated her in the realm of architecture from an early age. His ardent attention was intoxicating and she basked in his praise when she showed her aptitude and interest. Her younger brothers were often berated for being lazy, incompetent, or worse. Woodie was a big man with unpredictable behavior and a violent temper. His mental health deteriorated as his professional fortunes dwindled and his family could no longer tolerate his tyranny and out of control actions.
Woodie celebrated the naked body and was frequently nude at home. If he answered the door, whatever magazine he was reading provided cover. Bathroom doors were not allowed to be closed. The children were called on to tickle his back, a feeling he greatly enjoyed for extended periods of time. Throughout Elizabeth’s teens, he reciprocated, touching both sides of her body, claiming it was OK since he avoided the sensitive areas.
I have not nearly covered all the heartless and sometimes moving events and interactions that took place. Elizabeth will always have the emotional scars from her life with Woodie, but she has come to terms with the fact that she loves him. At the end, when she briefly describes her life with her first husband and children, it is a tranquil relief to the reader. She evolved into a creative communicator of the human condition with skills to offer a balm through the practice of acupuncture.
I highly recommend this book. It will cause readers to reflect on their own father and the dynamic between them even absent the abuse. Elizabeth resides in mid-coast Maine.
Kim Young-ha is an acclaimed writer in Korea. His works
have been translated into English and other languages. Diary of a Murderer
is a collection of four short stories ranging from suspenseful thrillers to
ruminative explorations of human nature.
The book opens with a thrilling titular story about a
seventy-year old man, Kim Byeongsu, who is a former serial killer suffering
from a severe case of Alzheimer’s disease. Kim Byeongsu has not killed in a
while, and when he meets his adopted daughter’s new boyfriend, he knows exactly
what he is—a fellow serial killer. Battling with short-term memory loss, he
makes it his mission to protect his adopted daughter and to kill one last time.
“Diary of a Murderer” portrays a person who is slowly losing control of
his faculties. Written in short snippets that resembles diary entries, one can
get a sense of the paranoia, claustrophobia, obsession, and neurosis that is
gradually seeping into the protagonist’s psyche.
It is evident that Kim has a knack for creating
captivating and flawed characters. He enthralls by letting his readers into the
troubled mind of his characters. For instance, in the second story, “The Origin
of Life,” Kim interweaves unrequited love and abusive relationship with human’s
need to survive. When the romantic protagonist, Seojin, comes back to his
hometown, he begins to wonder the origins of life and gets involve with his childhood
friend, Ina, who is married to an abusive husband. Then, in the third story,
“Missing Child”, Kim explores how environment can mold a person’s identity by
delving into parenting. The story chronicles the tragic journey of a married
couple, Yunseok and Mira, whose child was kidnapped while they were in a
supermarket. Ten years later, they discovered that their child was alive,
living under a different name, and was raised by another woman who had
committed suicide. Together, these two stories and the struggles of each
characters add pathos to a book filled with visceral fervor, creating a
To make Diary of a Murderer more compelling than
it already is, Kim crafts a final story where the search for passion and
inspiration takes on metaphysical concepts. “Once there was a man in a mental
hospital convinced that he was a cob of corn” is how “The Writer” begins. Kim
subtly pokes fun at the relationship between the writer and the publisher as
well as the writer and his works. At one point, the titular character, “the
writer,” receives an advice from an old friend to “write an
unintelligible, chaotic book that’s unpublishable. Write something like James
Joyce’s Ulysses”. “The Writer” questions what makes a writer a great one. The
story ends with characters transforming into “two enormous chickens” and the
protagonist repeatedly saying, “I’m not a cob of corn.” “The Writer” is a
well-told mind-bending narrative with searing black humor and uncanny
Kim Young-ha’s Diary of a Murderer is unconventional, original, and refreshing. It taps into the intrinsic instinct of human nature, and it depicts a distorted reality where serial killers are lovable fathers, where love stories become survival stories, and where obsession and passion don’t have a definitive distinction. Diary of a Murderer is only 200 pages long with the titular story taking half of the book; and yet, each story feels as though it could have been turned into a standalone novel.
In these wildly imaginative, devilishly daring tales of the macabre, internationally bestselling author Mariana Enriquez brings contemporary Argentina to vibrant life as a place where shocking inequality, violence, and corruption are the law of the land, while military dictatorship and legions of desaparecidos loom large in the collective memory. In these stories, reminiscent of Shirley Jackson and Julio Cortázar, three young friends distract themselves with drugs and pain in the midst a government-enforced blackout; a girl with nothing to lose steps into an abandoned house and never comes back out; to protest a viral form of domestic violence, a group of women set themselves on fire.
But alongside the black magic and disturbing disappearances, these stories are fueled by compassion for the frightened and the lost, ultimately bringing these characters—mothers and daughters, husbands and wives—into a surprisingly familiar reality. Written in hypnotic prose that gives grace to the grotesque, Things We Lost in the Fire is a powerful exploration of what happens when our darkest desires are left to roam unchecked, and signals the arrival of an astonishing and necessary voice in contemporary fiction.
In her thrilling new book, Lauren Groff brings the reader into a physical world that is at once domestic and wild—a place where the hazards of the natural world lie waiting to pounce, yet the greatest threats and mysteries are still of an emotional, psychological nature. A family retreat can be derailed by a prowling panther, or by a sexual secret. Among those navigating this place are a resourceful pair of abandoned sisters; a lonely boy, grown up; a restless, childless couple, a searching, homeless woman; and an unforgettable, recurring character—a steely and conflicted wife and mother.
The stories in this collection span characters, towns, decades, even centuries, but Florida—its landscape, climate, history, and state of mind—becomes its gravitational center: an energy, a mood, as much as a place of residence. Groff transports the reader, then jolts us alert with a crackle of wit, a wave of sadness, a flash of cruelty, as she writes about loneliness, rage, family, and the passage of time. With shocking accuracy and effect, she pinpoints the moments and decisions and connections behind human pleasure and pain, hope and despair, love and fury—the moments that make us alive. Startling, precise, and affecting, Florida is a magnificent achievement.
From the start of this extraordinary debut, Nana Kwame Adjei-Brenyah’s writing will grab you, haunt you, enrage and invigorate you. By placing ordinary characters in extraordinary situations, Adjei-Brenyah reveals the violence, injustice, and painful absurdities that black men and women contend with every day in this country.
These stories tackle urgent instances of racism and cultural unrest, and explore the many ways we fight for humanity in an unforgiving world. In “The Finkelstein Five,” Adjei-Brenyah gives us an unforgettable reckoning of the brutal prejudice of our justice system. In “Zimmer Land,” we see a far-too-easy-to-believe imagining of racism as sport. And “Friday Black” and “How to Sell a Jacket as Told by Ice King” show the horrors of consumerism and the toll it takes on us all.
Entirely fresh in its style and perspective, and sure to appeal to fans of Colson Whitehead, Marlon James, and George Saunders, Friday Black confronts readers with a complicated, insistent, wrenching chorus of emotions, the final note of which, remarkably, is hope.
The eleven stories in Will Mackin’s mesmerizing debut collection draw from his many deployments with a special operations task force in Iraq and Afghanistan. They began as notes he jotted on the inside of his forearm in grease pencil and, later, as bullet points on the torn-off flap of an MRE kit. Whenever possible he incorporated those notes into his journals. Years later, he used those journals to write this book.
Together, the stories in Bring Out the Dog offer a remarkable portrait of the absurdity and poetry that define life in the most elite, clandestine circles of modern warfare. It is a world of intense bonds, ancient credos, and surprising compassion—of success, failure, and their elusive definitions. Moving between settings at home and abroad, in vivid language that reflects the wonder and discontent of war, Mackin draws the reader into a series of surreal, unsettling, and deeply human episodes: In “Crossing the River No Name,” a close call suggests that miracles do exist, even if they are in brutally short supply; in “Great Circle Route Westward Through Perpetual Night,” the death of the team’s beloved dog plunges them into a different kind of grief; in “Kattekoppen,” a man struggles to reconcile his commitments as a father and his commitments as a soldier; and in “Baker’s Strong Point,” a man whose job it is to pull things together struggles with a loss of control.
Told without a trace of false bravado and with a keen, Barry Hannah–like sense of the absurd, Bring Out the Dog manages to capture the tragedy and heroism, the degradation and exultation, in the smallest details of war.
The Traveling Dustball is the second book in the BIG WORDS small stories series written by Judith Henderson and illustrated by T. L. McBeth. It is a graphic novel series of very short stories/chapters with one BIG WORD sprinkled in each tale. The Sprinkle Fairy likes to sprinkle big words around the book for kids to learn, so readers get introduced to words like “brouhaha,” “lollygagging,” and “phenomenon.” Each word is sounded out on the page and defined at the end of each story.
The drawings in this graphic novel are simple and silly, reminiscent of Captain Underpants or Dog Man’s stick figure illustrations. Each story is short and very silly. The main characters, Davey (a boy) and Abigail (a dog) get into a bunch of funny situations, starting with the discovery of a giant dustball that can take them wherever they want! Written for kids aged 5 through 8, kids will enjoy the funny stories and drawings and might pick up a few BIG WORDS along the way.