An elegantly written proof of the thesis that love conquers all—but not without considerable pain.
A sometimes tender, sometimes fraught story of interracial love in a time of trouble.
“I have never heard of a white man who got so little good out of being a white man.” So chides Della Miles, upbraiding John Ames Boughton at the opening of Robinson’s latest novel, set in an unspecified time, though certainly one of legal racial segregation. Jack hails from Gilead, Iowa, where so many of Robinson’s stories are set, and he has a grave waiting there that he seems in a headlong rush to occupy. He drinks, he steals, he wanders, he’s a vagrant. Now he's in the Black part of St. Louis, an object of suspicion and concern, known locally as “That White Man That Keeps Walking Up and Down the Street All the Time.” Della is a schoolteacher, at home in Shakespeare and the classics. Jack is inclined to Milton. He is Presbyterian by birth, she Methodist and pious—but not so much that she can’t laugh when he calls himself the Prince of Darkness. Both are the children of ministers, both smart and self-aware, happy to argue about poetry and predestination in a Whites-only graveyard. The arguments continue, both playful and serious, as their love grows and as Jack tries his hand at the workaday world, wearing a tie and working a till—and, more important, not drinking. Pledged to each other like Romeo and Juliet, they suffer being parted more than they do having to deal with the disapproval of others, whether White or Black, though Della's father, aunt, brothers, and sister all separately tell Jack to leave her alone, and once, when Jack's landlady finds out that Della is Black, she demands that he leave. The reader will by this time doubtless be pulling for them, though also wondering how the proper Della puts up with the definitively scruffy Jack, even if it’s clear that they love each other without reservation. Robinson’s storytelling relies heavily on dialogue, moreso than her other work, and involves only a few scene changes, as if first sketched out as a play. The story flows swiftly—and without a hint of inevitability—as Robinson explores a favorite theme, “guilt and grace met together.”
An elegantly written proof of the thesis that love conquers all—but not without considerable pain.Pub Date: Sept. 29, 2020
ISBN: 978-0-374-27930-1
Page Count: 320
Publisher: Farrar, Straus and Giroux
Review Posted Online: June 15, 2020
Kirkus Reviews Issue: July 1, 2020
PERSPECTIVES
SEEN & HEARD
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
SEEN & HEARD
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
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