Moschovakis continues to provoke her readers to ask: What is a story? Or, even, what is a life?
A woman who has come to a crossroads in her life travels a city in the midst of a cataclysm to find someone she intends to murder.
The unnamed narrator of Moschovakis’ latest is an actor at the end of her career. Just prior to an ongoing seismic catastrophe that will alter the basic structures of society, she had an event of her own that rearranged the underpinnings of her identity. At a production in a park in which the narrator had a pivotal role, a protest had broken out and she forgot her lines for the first time in years, but instead of forcing the show to go on, she addressed the protesters directly, admitting, “You’re right, you’re right—We don’t know what we’re doing—We don’t know what we’re doing and we keep doing it anyway…But I’m an actor—I don’t speak, I repeat.” After this was proclaimed a disaster “of the career-ending, unmitigated kind” by the critics, and the narrator was forced to take in a boarder to make ends meet. The boarder, Tala, has what the narrator can no longer lay claim to: youth, beauty, and the kind of self-confident elegance necessary to do things like “cross the room without even stumbling” in the world of constant aftershocks the two inhabit. The narrator’s interest in Tala develops into a fixation that, when Tala doesn’t return home one morning, becomes a full-blown obsession—to find Tala, wherever she is, and murder her, so that by Tala’s erasure the narrator’s own identity as someone who speaks rather than just repeats can take form. What follows is an existential journey through the largely abandoned streets of the trembling city and through the narrator’s past in the world of theater, where, in order to become a character, she first had to learn how to unbecome herself. Told in a multitude of forms, including journal entries, transcriptions, and a form of collage cutup, this story advances the thematic precepts of Moschovakis’ earlier work: rejecting binaries for the more shrouded truths that can be found when language, morality, and even individual selfhood are deconstructed.
Moschovakis continues to provoke her readers to ask: What is a story? Or, even, what is a life?Pub Date: Nov. 19, 2024
ISBN: 9781593767839
Page Count: -
Publisher: Soft Skull Press
Review Posted Online: Aug. 17, 2024
Kirkus Reviews Issue: Sept. 15, 2024
BOOK REVIEW
BOOK REVIEW
Uneven but fitfully amusing.
Betrayed by her husband, a severely depressed young woman gets drawn into the over-the-top festivities at a lavish wedding.
Phoebe Stone, who teaches English literature at a St. Louis college, is plotting her own demise. Her husband, Matt, has left her for another woman, and Phoebe is taking it hard. Indeed, she's determined just where and how she will end it all: at an oceanfront hotel in Newport, where she will lie on a king-sized canopy bed and take a bottle of her cat’s painkillers. At the hotel, Phoebe meets bride-to-be Lila, a headstrong rich girl presiding over her own extravagant six-day wedding celebration. Lila thought she had booked every room in the hotel, and learning of Phoebe's suicidal intentions, she forbids this stray guest from disrupting the nuptials: “No. You definitely can’t kill yourself. This is my wedding week.” After the punchy opening, a grim flashback to the meltdown of Phoebe's marriage temporarily darkens the mood, but things pick up when spoiled Lila interrupts Phoebe's preparations and sweeps her up in the wedding juggernaut. The slide from earnest drama to broad farce is somewhat jarring, but from this point on, Espach crafts an enjoyable—if overstuffed—comedy of manners. When the original maid of honor drops out, Phoebe is persuaded, against her better judgment, to take her place. There’s some fun to be had here: The wedding party—including groom-to-be Gary, a widower, and his 11-year-old daughter—takes surfing lessons; the women in the group have a session with a Sex Woman. But it all goes on too long, and the humor can seem forced, reaching a low point when someone has sex with the vintage wedding car (you don’t want to know the details). Later, when two characters have a meet-cute in a hot tub, readers will guess exactly how the marriage plot resolves.
Uneven but fitfully amusing.Pub Date: July 30, 2024
ISBN: 9781250899576
Page Count: 384
Publisher: Henry Holt
Review Posted Online: Sept. 13, 2024
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.
A falsely accused Black man goes into hiding in this masterful novella by Wright (1908-1960), finally published in full.
Written in 1941 and '42, between Wright’s classics Native Son and Black Boy, this short novel concerns Fred Daniels, a modest laborer who’s arrested by police officers and bullied into signing a false confession that he killed the residents of a house near where he was working. In a brief unsupervised moment, he escapes through a manhole and goes into hiding in a sewer. A series of allegorical, surrealistic set pieces ensues as Fred explores the nether reaches of a church, a real estate firm, and a jewelry store. Each stop is an opportunity for Wright to explore themes of hope, greed, and exploitation; the real estate firm, Wright notes, “collected hundreds of thousands of dollars in rent from poor colored folks.” But Fred’s deepening existential crisis and growing distance from society keep the scenes from feeling like potted commentaries. As he wallpapers his underground warren with cash, mocking and invalidating the currency, he registers a surrealistic but engrossing protest against divisive social norms. The novel, rejected by Wright’s publisher, has only appeared as a substantially truncated short story until now, without the opening setup and with a different ending. Wright's take on racial injustice seems to have unsettled his publisher: A note reveals that an editor found reading about Fred’s treatment by the police “unbearable.” That may explain why Wright, in an essay included here, says its focus on race is “rather muted,” emphasizing broader existential themes. Regardless, as an afterword by Wright’s grandson Malcolm attests, the story now serves as an allegory both of Wright (he moved to France, an “exile beyond the reach of Jim Crow and American bigotry”) and American life. Today, it resonates deeply as a story about race and the struggle to envision a different, better world.
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.Pub Date: April 20, 2021
ISBN: 978-1-59853-676-8
Page Count: 240
Publisher: Library of America
Review Posted Online: March 16, 2021
Kirkus Reviews Issue: April 1, 2021
BOOK TO SCREEN
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