A collection that asks the question, “Can a story ever be too brief?” The answer is yes.
A book of microfictions featuring an even more experimental foray into the narrative structures of chance.
This collection, slender on the shelf at 140 pages, contains the hidden heft of no fewer than 47 individual flash fictions. Rarely more than two pages long, the stories are pithy, whimsical, ironic, and poignant by turn. Often, they use the extreme efficiency of their language to poke fun at some absurd exigency of modern society, as in “Ella’s Letter to the Editor of the Universe,” which whipsaws between peevish acerbity (“Someone has put Beauty in the same aisle as Health Essentials”) and existential complaint (“Someone has used the human penchant for choice to justify hatred”) in almost the same breath. Other stories use their brevity to eschew narrative linkage, as in “How Phil Imagines the Afterlife,” which uses an enigmatic list of non-sequiturs (“17. Did you make the reservation? 18. I guess it’s okay that the lifeguard’s a teenager”) to portray the afterlife as a series of overheard remarks at a crowded resort pool. The whimsy in these stories creates a pleasant, chatty overlay of language that sometimes parts to reveal a startling moment of insight as the largely earnest characters struggle through the narration’s insouciant wit. This conflict—character vs. language—is a fascinating one to follow through its various paces, but Parker’s other project here is less successful. Interspersed between the stories are 26 bingo cards with titles like “Change Your Life Bingo,” “Feti’s Border Crossing Bingo,” and “Don’t Hate Your Daddy Bingo.” These pieces push the experiment of narrative brevity to an extreme, inviting the reader to interact with a single word or brief phrase contained within the standard 25-square grid of a bingo card whose context is provided only by the card’s title. This freewheeling play with story structure—the reader can arrange the story along horizontal, vertical, or diagonal lines as they see fit—is intellectually stimulating the first time it appears, but the pleasure of the form doesn’t hold up to repeat engagement.
A collection that asks the question, “Can a story ever be too brief?” The answer is yes.Pub Date: Feb. 11, 2025
ISBN: 9781938603211
Page Count: 140
Publisher: Dzanc
Review Posted Online: Dec. 28, 2024
Kirkus Reviews Issue: Feb. 1, 2025
BOOK REVIEW
BOOK REVIEW
A masterpiece.
Two young Indian writers discover their conjoined destinies by leaving home, coming back, connecting, disconnecting, and swimming in the ocean at Goa.
Sonia’s grandfather, the lawyer, and his friend, the Colonel, are connected by a weekly chess game and a local tradition of families sharing food, “paraded through the neighborhood in tiffin carriers, in thermos flasks, upon plates covered in napkins tied in rabbit ears.” Shortly after Desai’s magnificent third novel opens, the two families are also connected by a marriage proposal. Upon hearing that Sonia is feeling lonely at college in Vermont—loneliness? Is there anything more un-Indian?—and unaware that she is romantically involved with a famous, much older painter, her elders deliver a hilariously lukewarm letter proposing that she be introduced to Sonny, the Colonel’s grandson. Sonny is living in New York working as a copy editor at The Associated Press, and he, too, has a partner no one knows about. Sonny’s family feels they are being asked to give up their son to balance out some long-ago bad investment advice from the Colonel; on the other hand, they would very much like to get the other family’s kebab recipe. The fate of this half-hearted setup unfurls over many years and almost 700 delicious pages that the author has apparently been working on since the publication of The Inheritance of Loss (2006), which won the Booker Prize and National Book Critics Circle Award. You can almost feel the decades passing as the novel becomes increasingly concerned with the process of novel-writing; toward the end, Sonia can’t stop thinking about whether, if she writes all the stories she knows, “these stories [would] intersect and make a book? How would they hold together?” Desai’s trust in her own process pays off, as vignettes of just a page or two (Sonia’s head-spinning tour of a museum with the great artist; Sonny’s lightning-strike theory that only people who have cleaned their own toilet can appreciate reading novels) intersect with the novel’s central obsessions—love, family, writing, the role of the U.S. in the Indian imagination, the dangers faced by a woman on her own—and come to a perfectly satisfying close.
A masterpiece.Pub Date: Sept. 23, 2025
ISBN: 9780307700155
Page Count: 704
Publisher: Hogarth
Review Posted Online: June 6, 2025
Kirkus Reviews Issue: July 15, 2025
BOOK REVIEW
BOOK REVIEW
PERSPECTIVES
PERSPECTIVES
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
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