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 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
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
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