Devika Rege begins her timely, layered, and inquisitive debut novel Quarterlife with an epigraph by Kabir, a 15th century Indian poet. The inscription carries urgency, especially in Hindi. At a literal level, Kabir describes a lover’s red as so intense that the narrator sees the color wherever they look, and in the narrator’s search for redness, they take on the hue. Visually, the verses impart images of sweeping, suffusive scarlet, foreshadowing Quarterlife’s experimental, ever-expanding structure. Thematically, Kabir’s lines convey Rege’s rigor as she reckons with democracy.
No Small Thing: On “The First Law of Holes: New and Selected Stories” by Meg Pokrass
V.S. Pritchett spoke in an interview of how Chekhov’s gifts were limited to short forms because he lived in an anarchic and chaotic society, diagnosing the same state of genius to Irish writers like Frank O’Connor and Liam O’Flaherty that came after him. Pritchett said, “the novel depends enormously upon its sense of a stable social structure and the short story does not really depend on there being a social structure at all.” To give form to our fractalizing 21st century chaos, traditional short stories are too neat, wishfully formal, consoling. Adorno believed art worth its salt does not aspire to console. So it may be in the fragments, flash fictions, micro fictions, that we’ll find the form of our current chaos aestheticized.
Tricksters vs. Fascists: On Kurt Baumeister’s “Twilight of the Gods”
Billed by its publisher as a “a radical reinterpretation of the Loki myth,” Kurt Baumeister’s second novel Twilight of the Gods is a comic noir about a 21st century Ragnarok in a world where fascism is politically ascendant. The point of view belongs to the Norse god of mischief, rendered cleverly and affectionately by Baumeister as a devastatingly handsome pansexual Black man who sees his current incarnation as carrying implications for his adversarial relationship with top Norse god Odin, who turns out here to be friendly with Nazis, both historical and contemporary.
A Haunting Tale of Family and Authoritarianism: On “The Golden Land”
The Golden Land, by Elizabeth Shick, blends a complex plot, unfamiliar setting, and dual timeline to create an absorbing story. This alone would account for its selection by the AWP for its Novel Prize. But this is a debut novel goes beyond deft storytelling. It’s a tale of family tragedy, of romantic confusion, and of human survival, both physical and emotional.
Revisiting the Comedy of Manners: On “The Default World”
Jhanvi, the protagonist of Naomi Kanakia’s novel The Default World, refers to an ongoing project of hers as a “marriage plot” a few times over the course of the book. This is an eminently accurate description of what Jhanvi is up to: she’s in the process of trying to marry a tech-bro friend of hers so that his health insurance will cover her gender-affirming care. But it’s also a nod on Kanakia’s part to the territory she’s entered with this book. On the one hand, it’s a spot-on satire of a certain segment of the tech world; on the other hand, it’s a book that’s in the grand tradition of, say, Edith Wharton’s The Custom of the Country.
A Candid Look Back: On Edmund White’s “The Loves of My Life”
Edmund White has never let any barriers get in his way, not in his public life, not in his writing.
In his upcoming memoir, The Loves of My Life: A Sex Memoir, he chronicles a lifetime of sexual adventures: his furtive explorations with other similarly closeted boys, growing up in the Midwest, his not-unpleasant dalliances with women, in an attempt to “go straight”, his myriad sexual conquests once he had come fully out as a gay man, many of them men who would become the models for characters in his many fine novels. In this new book, White displays his trademark courage for taking on taboo subject matter, here writing so explicitly about sex that one wonders how the reading public in these ridiculously PC, “woke” times will react. But this was Mr. White’s life. And if a writer can’t write about his/her own life, what is he left to write about?
Transcendence Has a Cost: On Tara Isabella Burton’s “Here In Avalon”
In October, I sat inside James Turrell’s installation Hind Sight for the first time. This is what it was like: I followed a railing along a winding pathway before arriving at a chair, where I sat. I then stared across the room at something imperceptible: something made out of light, something not designed to be perceived by human eyes under normal light. I left the room with a greater understanding of friends and family who have had genuinely religious experiences. In Hind Sight, there was the sense of perceiving something utterly ineffable and yet utterly present.
Constant Delirium: Reading Jean-Pierre Martinet’s “With Their Hearts In Their Boots”
Credit where credit is due: I picked up Jean-Pierre Martinet’s With Their Hearts In Their Boots (translated by Alex Andriesse) in no small part due to the fact that its introduction was by William Boyle. Boyle’s cultural recommendations, whether literary or cinematic, are often spot-on, and reading his description of this “[h]hard-boiled, funny, dangerous” short novel piqued my interest for what was to follow.