Read on for an interview with author Tiffany McDaniel!
This summer is getting hot. So hot all I want to do is stay inside with a big glass of iced tea and a good book, away from the burning rays of the sun. But what happens when the book brings the heat to you?
This book really hit me in ways I didn't expect. For all the bright, dazzling sunshine in it, this is a very dark book.
It is the story of a town turning on its itself, on its own humanity.
It is about loss and grief, and the blaming, paranoia, and mad rage that can follow.
It is about what heat can do to a mind, or perhaps just what the mind blinds itself to and then blames on other elements.
It is a coming-of-age story—but not the warm and fuzzy one that is usually associated with that term.
The summer of 1984, Fielding Bliss's father invites the devil to Breathed. When a scrawny thirteen-year-old black boy shows up claiming to accept that invitation, it is not what anyone expected. But then the heat comes. And unfortunate accidents start piling up, mysteriously connected to the boy who calls himself Sal. Is he really the devil? And what is going on in the previously quiet and quaint town of Breathed, Ohio?
Fielding narrates his story from the future, where he is an old man, still licking the wounds from his past and suffering—for what, we don't yet know. But this technique puts a cloud of dread over the whole book. Something wicked this way comes, but you'll have to read on to find out.
As the summer progresses, the heat stifles everything and things go from bad to worse with secrets coming out— including secrets about Fielding's own family—innocents caught in the crossfire, and even Fielding's neighbor turning everyone against Sal in a strange religious fervor.
The book examines good and evil, presenting the situation bare, sometimes even metaphorically and through Fielding's eyes, you as the reader are the judge. Who is right and who is wrong? Can this even be decided?
The prose is unexpected, sometimes strange or unfamiliar in its description, but always lyrical, something I was continuously wrapping my mind around while reading. McDaniel is a very unique writer and her influences from southern gothic writers and other literature are keenly felt, but adapted in a way all her own.
The book is highly stylized and more like a fairytale than realistic fiction, hovering just above reality and told in a heightened state. But somehow, the little town of Breathed is meant to exist in its own world, and Fielding is trapped there, not only in the summer of 1984, but even later in his life, even just in his mind.
For me the real revelation doesn't lie in who the devil actually is, but in how everyone reacts to who they think he is, or what they are told to think. Perhaps it is that there is that spark of evil inside all of us, waiting for that heat wave to catch flame.
And now, a short interview with author Tiffany McDaniel!
Shelf Stalker: What are you reading right now?
Tiffany McDaniel: I am reading Ruth Franklin’s bio of Shirley Jackson, A Rather Haunted Life. Jackson is a wonderful writer, so it’s nice to be able to learn more about her and her life.
SS: Who are your top three authors and why do they inspire you?
TM: I still have lots of reading to do, but so far my favorite authors are:
Ray Bradbury—I love his novel, Dandelion Wine. It’s a beautiful, melancholic story that touches on those experiences we have coming-of-age.
Shirley Jackson—I still have yet to read her entire collection, but one of my favorite novels of hers is We Have Always Lived in the Castle. A wonderfully told story of two sisters wrapped around the mystery of who poisoned the rest of their family.
James Wright—A poet from my land of Ohio. Above the River is the entire collection of his writing. His voice is a beautiful contribution to the poetic verse.
SS: If you could have any superpower, what would it be?
TM: There is a lot of pain and suffering in the world, experienced by both humans and animals. I’ve always thought the superpower to heal and remove pain would be something that one could do a lot of good with.
SS: OK, on to the book!
I know you are from Ohio, but can you tell me how you got the idea for this book?
TM: The novel started first as a title. It was one of those hot Ohio summers that I felt like I was melting. Out of true heat, the novel was born. I start writing a new novel with two things: the title and the first line. Because I don’t outline or plan the story ahead, the title and the first line work together to shape the entire rest of the story.
SS: What was the purpose of having the book set specifically in 1984?
TM: When I was thinking about this story, the 1980s came to mind. When I think of that decade, I think of the neon colors, the big ambitions, and the big hair. It seems like a decade-long summer to me, which I thought made the perfect setting for this particular summer in the book. I chose 1984 in particular because it aligned with my George Orwell 1984 theme. Orwell’s novel is all about herd mentality and the importance of preserving individual thought. This is something the characters in my novel deal with, especially when it comes to answering the question: Who is the real devil?
SS: I loved how heat was an integral and constant part of the narrative—I really felt its presence while reading! Can you talk about why heat is so important to the book?
TM: The heat was an interesting character to write, and I say character because the heat is a character that developed just as the other characters around it did. The arrival of the heat coincides with the arrival of the boy claiming to be the devil. The heat allows for a certain “hellish” atmosphere, all the while becoming the evidence for those who believe this boy to be the devil. The heat has not only a physical effect on the characters, but an emotional and mental one as well. Without the heat, you don’t have the same story.
SS: Fielding acts as a sort of an outside narrator to the events of the novel—he reminded me of Nick Carraway in The Great Gatsby. Why are his eyes the ones we see the story through?
TM: I wanted to explore this story through the eyes of someone coming-of-age. I chose thirteen years old because that’s an age when most of us began to shed the skin of our innocence and take on the maturity of who will be as adults. It’s also the age they say Joan of Arc began to hear her voices, so it seems a divine age as well. All the novels I’ve written thus far are told through first person. From the first line, I have the narrator, and his or her voice will deliver the rest of the story. Fielding was the right character to deliver this story because it is through him that we understand the relationships and dynamics of his family and of his community, both before and after the devil’s arrival. The story couldn’t be told through the eyes of Sal because Sal needs to remain a mystery to us, and a first person lens on his story would have opened up the mystery just a little too much. But with Fielding we get the story through a lens that allows us to be both outside and inside the mystery as it unfolds.
SS: The book examines evil as a part of the human condition. But evil isn't necessarily black and white. To what extent do you feel this is true? Or, why were you interested in pursuing this as a subject?
TM: I’ve always been interested in good v. evil, and I think on some level I’ll always be exploring this. But more than that, I’ve always been interested in that gray area between good and evil, the area I think most of us live in. With these characters in the novel, you’ll see that they are all capable of good and evil. Even the villain of the story has his moments where he is revealed to be more than the evil he bears. It’s about nothing being clear cut, and just because someone is called “devil” doesn’t mean they are devilish. Ultimately, it's a story that explores what it is to be human, and the grief and the happiness of that very existence.
SS: Can you tell me about your writing process? Like, do you write a certain amount every day? At a certain time of the day? Do you take lots of notes first or just go straight to the computer?
TM: I don’t have a routine, probably because I’ve never been a very scheduled person. I seem to work in chaos and am always trying to stay or get organized. I’m an insomniac so sometimes I write at night. Sometimes during the day. I don’t have a particular word or page count I strive for. It’s like going to a big faucet with a big bucket. You turn the faucet on and sometimes you have a lot coming out, sometimes it’s just a drip. The trick is to be present. There are lots of distractions in today’s world, so the best thing we can do is to turn off the noise and focus only on the page in front of us. My process is that I don’t take notes. I don’t outline, or plan the story ahead. I think if you plan a story too much, it can domesticate the story, and I like to preserve the story’s wild soul.
SS: Do you have anything else in the works right now?
TM: I have eight completed novels. I should say that while The Summer that Melted Everything is my first published novel, it’s actually my fifth or sixth novel written. I wrote my first novel when I was eighteen, and wouldn’t get a publishing contract until I was twenty-nine for The Summer that Melted Everything. It was a long eleven-year journey to publication, full of rejection and perseverance. I write darker literary fiction and I was often told I was risky to publish, which is something I think female authors hear more than their male counterparts. As far as what's next for me, well, I've returned to that very first novel I wrote when I was eighteen. It’s titled, The Chaos We’ve Come From and it's inspired by my mother's coming-of-age in southern Ohio from the 1950s to the death of her father in the early 1970s. It’s been fourteen years since I first wrote this novel, so it feels like a good time to return to this story and to these characters.
A huge thanks to Tiffany McDaniel for sending me a copy of her book and being so generous with her time to answer my questions!
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Find out more about the publisher, St. Martin's Press (Macmillan)
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Having (somehow) not picked up Fiona Barton's debut The Widow last year despite the fervent admiration that went around for it, I jumped at the chance to read her second book early. When I finished after two intense sittings, I scrambled to the book store and quickly devoured her first as well!
I do enjoy reading thrillers, but generally I feel let down by them by the time I finish. The plots tend to be too predictably easy to solve—my personal rule is that if I've figured out the "twist" within 50 pages, it isn't a very strong narrative. (The downfall of the rule being that I have to read the whole book to find out if I'm right or not!) But Barton's books felt very different from that model of storytelling.
The characters are just as crucial as the plot, or perhaps even more so, and while this may seem like a small detail or even an obvious statement, I feel that it is something that is lacking from a lot of thrillers on the market. There is a lot of care put into these characters—you get to know them and through them you feel the story more than just read it.
For me, that is what makes a story. It isn't just the straight telling of a narrative, it is how the characters lead you to their story, through their eyes, and through them you fall into the story and find yourself truly caring about what happens.
The Child centers around the skeleton of an unidentified infant that is uncovered at a construction site in London. There are four alternating perspectives that swap between each chapter:
Kate, an intrepid reporter, takes an interest in the case and starts writing about it and asking questions.
Angela reads the articles and is certain the skeleton is her first born child, who was stolen right out of her hospital room decades earlier.
Emma sees the articles too and she is completely shaken, fearing some deep-buried secret from her past may be coming back to haunt her.
And Jude, Emma's mother, who only recently came back into her daughter's life after throwing her out when she was sixteen.
Kate's digging will uncover the connections between these women, the past, and the secrets they've hidden from each other and themselves.
There are a few recurring characters in Barton's books, but it isn't really a series; the story isn't about the reporter, Kate, and her dogged search for the truth, though both books include her and she is integral in both. Each book instead felt very much like its own entity.
Similarly, both books alternate perspectives of characters, but while temporal fluctuation between the past and the present was a crucial factor in The Widow, The Child often marks the how the same time passes for each character—a different but very effective technique that kept me turning the pages!
By no means are these characters perfect—they are flawed, sometimes even despicable—but they are human and their mistakes make them real and relatable.
By the time I got to the conclusion of The Child, I realized I'd been holding my breath a lot, waiting to see what would happen—I was really emotionally invested in these characters! That's what good writing will do and it's worth running out to get Barton's books to see what I mean.
This post is part of The Child's release blog tour! Thank you for inviting me to be a part of this, Berkley Publishing!
You can visit Fiona Barton online at fionabartonauthor.com and on Twitter @figbarton. Join the conversation using #TheChild.
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It begins with a girl.
No, it begins with a mother, and how that girl thinks of her, wants to please her, wants to be her, hates her.
How to fill the void left by a mother who can’t seem to get it right? Do you find a new mother?
Be your own mother? Create a mother with art, with work, with the barriers you put up against the world?
This is a book about mothers, but it is also a book about identity and how much of that identity, especially for girls, is based upon mothers. It is about individuality, about growing up (or not) and finding your place in the world, and then filling that space with something.
Esther, who goes by S, wants to be a subversive, or at least some kind, of artist and she’s recently broken up with her boyfriend. Now she feels the need to prove herself, to do something big—something with meaning that will get her noticed. But she also needs a job, so she becomes a live-in nanny for Lady, an aspiring writer recently separated from her (very-rich) husband, and the mother of two boys, a young toddler, Devin, and a teenager, Seth.
What follows is an entangled narrative, each character wrapped up in so much more than just the simple timeline of the book. The past beats heavily in them, even if they don’t know why.
While the book is focused on the actions of the characters in the present, it is swirling with the tensions of the past. Both Lady and S have strong connections to their mothers that they can’t ignore, and they are constantly trying to come to terms with their damaging upbringings, even as their current situations spiral out of control.
Lady is estranged from her mother and her issues and insecurities run deep. Her mom seems to be the main reason why she’s writing a memoir, though she can't quite admit that to herself, and though she’s living the high life in a mansion in the Hollywood Hills now, that is not at all where she came from.
S’s parents are divorced and it seems like S takes on more of the parenting role when she’s around her mom—cleaning up her apartment, getting rid of the alcohol, confiscating a bunny that is sure to get her mom evicted. But still, S clings to her mother, wanting to know who she is, or perhaps why she turned out the way she did, even taking on her identity as part of her new art project. S dresses sloppily like her mom, acts carefree, speaks like her, and drinks wildly. The “S” that Lady knows is not Esther.
And then there’s Seth. He’s never said a single word despite being completely normal otherwise, and he vibrates with a strange energy, like a bomb ready to go off at any point. His mom has protected him his whole life, kept him to herself, but it has become smothering and he wants to experience, he wants to know.
There are surprises here. There are rich characters living dense, real lives, dealing with modern and strange situations. While I didn’t fully connect with California, Lepucki’s first novel, this one feels much more resonant and true to me.
There is a shocking disregard for what identity means in our tech-crazed world, where you can hide behind your social media feed, where you can be some form of anonymous whenever you touch the screen. And who are you really? Are you who you are in the real world? Or are you the screen you? Are you who you used to be? Are you your parents? Some sort of amalgam?
The way Esther puts on her mother’s skin with such ease is almost scary—it is like taking over someone’s identity simply because she was tired of her own, or possibly lacked her own altogether. The way these characters struggle to come to terms with what it means to be themselves is fascinating and wrenching. They deal with a two-sided coin: the real-world identity struggle of shedding the sins of your parents, and the meta-world struggle of forming a persona through social media or creative means: This is what our society is.
Thoughtful, well-written, highly evocative of a specific place and a specific moment, this book is well worth a read if you’re looking for more depth than a quick summer read.
Get your copy of Woman No. 17 here
Find out more about Edan Lepucki
Find out more about the publisher, Hogarth/Crown (Penguin Random House)
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Stunning and compelling. This book digs to the heart of human experience, the worst of human experience, and comes out singing with strength.
You will be drawn in by the story of a missing boy, his tragic and unnecessary fate, and the entangled story of the man behind it, but you will stay for Alexandria.
This book is what I would call a true crime memoir. It is about a murder—the details, the people involved, even some parts of transcripts from the trial—but it is also about a woman investigating that murder and how that affected her own life, brought up things in her life she hadn’t even realized she needed to deal with.
It is a beautiful pairing of the past and the present, how those two things can seem disparate, completely unrelated, how people separated by years, geography, and crimes, can come to seem not so different after all.
Anyone who is interested in true crime will find the story of six-year-old Jeremy Guillory compelling. He goes down the street to play with his friends and is never seen alive again. A search ensues, a murderer is found, lives are changed, trials are held.
But it is the why that we are always searching for.
It is the why coursing through Alexandria Marzano-Lesnevich that makes her grip this case, sensing echoes of herself in it, wanting to know why Ricky Langley did it that day, why he was the way he was, why Jeremy Guillory’s mother stood up and fought to get him off death row years later.
This examination of self and others in the face of something so inhumane, so needlessly barbaric, comes about as close to revealing the face of true humanity, of true self-realization, as I have ever felt a book to come.
This is a book about personal history, about what we choose to do with our lives and the hands we are dealt in life. No matter the circumstances of where you come from, you always have a choice for things to go one way or the other, or at least that’s what I choose to believe.
That’s what this book reinforces in me too. Bad things will happen, yes, but there is a choice that people can make beyond those bad things, in spite of them, even if everything was heading straight for those bad decisions, aligning with the stars—there is still a chance.
A chance for someone to see what happened and make a different choice. Despite the why, despite the pain, they will make a different choice.
I finished this book in the morning on a delayed train into Manhattan surrounded by people trying to get to their jobs, to meetings, to a thousand different places. Everyone thinking about what they had to do, about how late they were, how upset or mad they were about the trains, minds going a thousand miles a minute.
I was just visiting and didn’t have anywhere pressing to be, but it hit me for a minute. To be that surrounded by humanity, you have to give yourself up to it. Trust it a little, even as you are ignoring it behind your Beats or your cell phone screen. You never really know what is going on in the minds or lives of the strangers around you.
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“Men at some time are masters of their fates:
The fault, dear Brutus, is not in our stars,
But in ourselves, that we are underlings.”
--Julius Caesar, Act 1, Scene II
There is something a little mysterious, a little intoxicating about Shakespeare. Of course, for many of us, it is a lot mysterious—in fact, nothing but mysterious—and conjures up memories of long afternoons in dusty high school lit classrooms trying to puzzle through the meaning behind every line, sometimes every word, of Romeo and Juliet.
But to see it performed, that is truly something else, that is the way it was meant to be consumed. It filters down to a part of your soul that feels right, feels true, and even if you can’t quite grasp the meaning of every phrase, you feel something special burning at the core. Or maybe just a tingle.
For the seven students in their last year of theatre study at the elite art school in the novel If We Were Villains, Shakespeare is like this, but also, he is more. They live in the bard’s texts, studying him with such constant devotion that it filters into their real lives.
They talk in texts, frequently, having Shakespearian conversations that all seem peppered with double meanings, hidden layers, and sometimes it is unclear whether you are speaking with an actor or their character.
Each of the seven has their type: strong, leading man Richard; his opposite, the sultry Meredith; the beautiful hero James; the wispy maiden Wren; the fool Alexander; and then there’s Filippa and (our story’s hero) Oliver, who seem to get the leftover roles, slipping into whoever is secondary, but never playing the lead.
Who are they really? Is there a separation between the stage and reality? What happens when that line seems to bend, and then snap?
And snap it does. Oh, yes.
Aren’t you all waiting for the turn?
The book is set up in five acts, much like a play, and while the main action of each follows the seven during their fourth and final year at school, each one begins with a prologue, set ten years in the future.
Oliver has just been released from prison, sentenced for something that happened at school, something that he may or may not have done, and now he’s going to tell the real story. To the man who put him away.
And the curtain rises . . .
Rio holds onto the tension of seven characters very well, stringing them along in an even way, making sure they are all developed characters, and I thought she had a great voice for natural dialogue. I can’t claim to know that much about Shakespeare, but I do dabble a bit and I actually quite enjoyed the Shakespearian language spilled across the pages; it developed the characters in unexpected ways when I stopped to really examine what was going on with the bard’s text. I think it even helped me figure out the twist . . .
The seven kids flit in and out of reality, fighting and giving in to obsession, mimicking the violence and drama of the plays (or is it that the plays begin to mimic their lives?) and they begin to come apart at the seams, each breaking down in their own way.
A very promising debut and interesting character study type of novel from a bold and inspiring voice. The only thing I’d ask for in a follow-up book is to cut down on the adverbs—let your descriptions do the work! Ah, well. Room to grow.
One final thought: The ending will rattle your soul.
Whether you like Shakespeare, don’t remember a bit of it from high school, swoon over the lilting words, or shrink away from them in pure fear, this book has a bit of mystery for everyone and it might even bring you a bit closer to learning the mysterious staying power of the bard.
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Find out more about the author, M. L. Rio
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This is a book about straight up life. At times, we are all hot messes. At times, everyone can be a bit unlikable. At times, it definitely can be difficult to get up off your ass and actually do something about your life, something that you should do, can do, and actually want to do.
Andrea is just like us. She is pretty average, coasting along through life, not really doing anything extraordinary and ignoring the things that get hard and the things that hurt.
She is an art school dropout who now only sketches the view of the Empire State Building out her window every day, until they build a new skyscraper that blocks that view.
She is stuck at a job she doesn't really care about, dodging promotions and commitments.
Her best friend is settling down and getting married and doing the whole kid thing and doesn’t really have time for her anymore.
Her brother is dealing with his child, who has a terminal illness and her mom has moved out of the city to live with them, leaving Andrea feeling abandoned.
She has meaningless one night stands or horrible dates or some strange relationships that are fruitless and she’s not really sure if her being single is by choice or because she is undateable or some other reason. But she isn’t really looking for a guy to solve her problems.
Basically, Andrea’s problems are not the problems that so-called society thinks she should have, not at her age. She should be having the married-babies-working or stay at home mom problems.
And somehow, all it seems she can get from society is everyone looking down on her, thinking less of her, or directly telling her to pull her shit together, that she’s doing it wrong.
I read some reviews that so hated this book because they didn’t find Andrea to be a likable person. Is she a bit singleminded and self-absorbed? Yes. But so are we all. How often do you actually think about other people during the day versus yourself? Yeah.
Attenberg even writes the entire first chapter in second person, which to me, calls attention to the reader that, hey, this story is about you. Maybe not the specific details, but the story. So pay attention.
Maybe we don’t ever really “grow up” in the sense that we are always just trying to figure everything out, find the best way to be ourselves, to have a place in the world, and make all those dumb adult things work.
I felt it was very refreshing to read a book with a leading female that really digs right to the heart of actual living, cutting through all the crap and focusing on what is really there. This is Andrea’s life. It isn’t a story about her needing to fill her voids (literally and metaphorically) with men and chasing after everything that society tells her she should want. She is just trying to figure life out and she may not be the best at it.
The book is interesting because if you can really look at Andrea’s flaws, if you can see past your frustration with her to the root of the issue—what is causing her to avoid her family, to waste her time with her niece?—then perhaps you might see places in your own life where you are doing the same thing.
The book doesn’t try to explain who Andrea is or why she is living her life the way she is. Instead, it is almost more of a set of interlocking short stories, each one detailing a different interaction that made Andrea who she is.
This seems to echo New York City itself, how everything can become very compartmentalized and each moment exists separate from others. Even people seem to drift in separate spheres, while at the same time, they are literally right next to each other, passing each other on the street, in cars, brushing up against each other in the subway.
It also echoes the way we live our lives, treating each segment as separate: home life, internet life, Instagram life, Twitter life, work life. We put a piece of ourselves into each segment—who really knows who they are anymore.
All Grown Up is a compulsive book, the short chapters making it easy to just keep reading, to try to put together the puzzle that is Andrea, about who she is in this moment and who she has the potential to become.
It’s something we all have inside us, this potential. How long are you going to make yours wait?
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Find out more about the publisher, Houghton Mifflin Harcourt
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Who can recognize the ending as it’s happening? What we live, it seems to me, is pretty much always a surprise.
Marlena is a book about so much more than a girl, or even both the girls who inhabit it—insightful, self-effacing narrator Cat and her ethereal, almost mythological Marlena—it is about the boundaries which they crave to expand beyond and end up ultimately caging themselves into.
These boundaries begin with place and circumstance: the two young girls are poor, in the middle of nowhere, and coming to the point in their mid-to-late teen years where they need guidance.
Marlena has a father who is deeply ensconced in the drug trade and a younger brother she has to look after. She has a habit and a creepy older dealer she can’t kick.
Cat’s mom is newly single and juggling jobs and keeping food on the table and Cat finds it easy to slip out of her 3.8 GPA and into a freer lifestyle, following Marlena and her friends around, getting drunk and high, and skipping school.
To her, it seems like she is experiencing life for the first time and there are almost no consequences. Even as she tells the story from a point in her 30s, far away in New York City, where she still hasn’t really accepted her alcoholism, Cat doesn’t seem resigned to or embarrassed by the events as they happened in the past.
The current-day Cat seems worn down—like she is envious of the potential the girl she used to be had, how now she doesn’t see it in herself. But she never did see it in herself—what is so different now? What are we all wasting time on, right?
It’s almost as though she wishes she could freeze that moment in time, and live there—she would almost do it. Especially those months before.
Even though they weren't perfect and she wasn't exactly happy, I got the sense that she really felt she lived more in those months than at any other time in her life.
When it seemed like nothing could go wrong and everything teetered on the brink but they only had one way to go and they would get out of that town and start over.
Doesn’t everyone have a moment like that? But would it really change anything?
I was prettier in reflection. The fragmentary me that lived in shop windows, puddles, the hood of a car passing by, the dark spot in Marlena’s eye—that girl was sheer potential.
Buntin's prose has moments of great insight, especially for teenage girls. It felt very real and caught in the moment. High school was all about changing something fundamental or physical about yourself in order to find out who you really were, to uncover the real you.
I think we can all look back on our high school years and sense a kinship in feeling to this book in some way. Maybe you were in with the drama kids or the band geek, but everyone had their thing that they identified with that also put them on the outside.
And the root of the story is this unknowable, untouchable, godlike Marlena. But, of course, she is none of that.
She wasn’t the most popular or even very well-liked at school. She wasn’t the smartest. She was a drug addict, she lived in a dirty house, hung out with dangerous people, made poor choices for herself and led others to those choices too.
She was just a kid, trying to survive and hoping to get out someday.
This book magnificently portrays all the sides of Marlena, putting her on a pedestal as Cat saw her and also putting her in her place as just another human making some bad decisions.
She is intricate and real, nuanced and confusing, but in the end, she is still a character we don’t get to hear from. This is Cat’s story and I wonder if, had she been given the chance, Marlena would tell it any differently.
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Find out more about the author, Julie Buntin
Find out more about the publisher, Henry Holt & Co (Macmillan)
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My hand’s on the handle of the screen door and I pause, turn. The thought of going inside, drinking a glass of water, reading, undressing—the thought of doing these living things makes it hard to breathe and I think of Crazy Horse and massacres and muscle-bound dudes shooting pool and sex. Which of these thoughts will cast Her in the darkest light, will help me get free?
With sparse, languorous sentences that nonetheless hold a masterful deep-seated tension throughout, The Glamshack is a look into the interior landscape of a man on the edge of self-discovery, and, even larger, it chronicles the ubiquitous nature of us all.
Henry has found the woman of his dreams, he even thinks he loves her, but the problem is that she is engaged to another man and she’s leaving to go visit this fiancé in New Orleans.
Henry has twelve days to figure out what he’s doing with his life. And what it looks like from the outside is living in someone else’s pool house, having an affair with a woman who’s about to be married, and flushing his job down the drain.
But there is a lot more going on beneath the surface. Henry’s story begins not with the entrance of the unnamed Her into his life, but with childhood memories and how he sees an unlikely parallel of his story in the long-past Plains Indians wars.
What is interesting about The Glamshack is the inversion of the expected gender roles. In a book like this, you would generally expect the Henry character to be a woman. Instead, we get the opposite, and we follow Henry’s introspection, his male point of view, and the world looking back at him.
I think it's important that the book is set in 1999, just before the new millennium, when there really is nothing in the book to suggest that it has to be set in this time period. This setting, which the reader is reminded about at the start of every chapter that isn't a memory, is significant.
It is about to be a turning point, the collective holding of breath before something new begins. Henry, and perhaps the rest of the world, are stuck in stasis, but when the clock turns over, it could be a reset, a chance to try again, be better, have freedom. Who knows what will happen. 1999 represents the top of the rollercoaster for Henry, what happens after these 12 days could potentially determine his freedom.
His job involves writing for what he dubs the “Glamrag,” a magazine mostly full of advertisements where “editorial doesn’t count for shit” and he is in charge of interviewing photographers, tv commercial directors, model scouts, and the like.
But he doesn’t seem to be able to ask the right questions, to really get any story now that She is in his head. And his job is on the line. None of these ordinary things seem to matter to Henry anymore, though.
In glamorous LA, everything is surface level. All anyone seems to see in him is that he would make a good model. He’s got a look and he’s got “as little as possible going on behind the eyes.” That’s all it takes to be a male model: a good looking body and nothing in your head.
Is that what attracted Her to Henry? His prettiness and emptiness? And what makes Her so valuable to him anyway?
I spent a lot of time trying to dissect their relationship, since even though Henry is the one telling his story, I didn't find him that redeeming of a character—there really isn’t that much going on with him. He seems damaged, fixated on bringing everything back to this childhood obsession with a madman in the woods, who may have been a figment of his own imagining.
Henry uses his twelve days to unravel his relationship with Her and see what went wrong, if it even did. He delves into his childhood, grasping for threads, and it seems he spent a lot of his childhood running—it’s almost like a totem for him. A type of power.
But being so fast at running means you are always running away from something, hiding from something. And perhaps the madman resides there too, something to shield him from getting too close to the truth.
What makes their affair so special? Perhaps the point is that it isn’t. Perhaps the point is that there is nothing special about Henry or his experience, much as he tries to distinguish himself, to dig through himself to create meaning, to find substance.
It's another history of broken promises and scarring, sadness and broken hearts. Perhaps it's a bit dramatic to compare one torrid love affair to the decades-long struggle and oppression suffered by the Native Americans, but it gives an interesting insight into Henry’s mind.
There is darkness in all of us. What matters in the end is what you’re searching for, what you consider to be worth giving up everything else for. Freedom? The divine? A woman?
What’s the difference really?
Get your copy of The Glamshack (out June 15, 2017)
Find out more about the author, Paul Cohen
Find out more about the publisher, 7.13
This is a dark, entangling, deeply unsettling sort of book. The type that digs gritty fingernails deep into your skin, your very bones, and doesn’t let go, not even after you’re finished reading.
Felicia Sullivan had me wrapped up in her story from the very beginning and from there it only gathers steam, or more like vicious black smoke, a smoke that may smell of charred human remains.
I have a deep love of horror but so often horror is given a bad rap as something shallow or schlocky or just too gory and horrible for the sake of being so. Follow Me into the Dark brings horror into the realm of the literary in a way that reminded me of one of my favorite writers, Stephen Graham Jones.
Like much of his writing, this book isn’t afraid to go to places that may be difficult to understand, to use language that might obscure the meaning, or to just straight up obfuscate the scene in a way that makes you have to feel your way out, almost like you are in the dark yourself sometimes.
Of course, this is intentional—the nonlinear structure of the novel, the slippage between the generations and the years causes a disconnect, while at the same time highlighting how patterns of behavior, pain, and illness can be passed down the line affecting family members differently as they fracture outward.
The main thrust of the plot follows Kate whose mother is dying of cancer. Her stepfather is concurrently sleeping with Gillian, who happens to be a doppelgänger of Kate and further, there is a serial killer called the Doll Collector on the loose killing girls who have similar appearance to her as well. Gillian’s stepbrother Jonah increasingly matches the description of the killer, but it couldn’t really be him, could it?
Kate begins delving into her past and her mother’s past, bringing things to the surface that she would have preferred to keep hidden. Abuse, mental illness, loss, and pain begin narrating the pages and her emotions, especially negative ones like anger and rage, start boiling over in a way she can no longer control and the lines in her own mind begin to blur.
Perhaps the answers to now lie in the past, no matter how difficult it is to face them.
As a reader, I got the feeling that I couldn’t really trust any of the narrators; there is a sense of unreliability throughout the novel, though it is built on enough trustworthy details that I just had to keep digging. I wanted to find the truth!
There is a velvety depth to the language of this book. I got lost in it, I drowned in it. I felt like I was going crazy at times—truth is not absolute in this book, the words sometimes withhold more than they reveal, but what is clear is the profound nature of personal suffering and the lengths that some will go to, however misguided by the mind or the past, to end it.
Chilling and compelling. A beautifully written debut novel.
Get your copy of Follow Me into the Dark
Find out more about the author, Felicia Sullivan
Find out more about the publisher, Feminist Press
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I always say California is going to fall into the ocean someday. Those fault lines, man. You are just living in denial if you don’t think that entire state is one minuscule step away from a shattering natural disaster. But there they go, building their skyscrapers and freeway systems like it’s no big deal.
Shaker has a powerful, cinematic setup of an enormous earthquake crippling Los Angeles. Enough to put you off going to the beach for a while, or at least rethink your dreams of a glamorous Hollywood life.
Enter Roy Cooper—a New York hitman, quick, reliable, and good at his job, sent to LA to clean up some loose ends. He’s never been on a plane and wants to get in and out quickly, unless he might be able to catch a Dodgers game; he loves baseball and his favorite pitcher is about to break a record.
But then, right after he completes the job, everything goes to hell in a hand basket. He intervenes as a few gangbangers attack an older man in an alley and the whole thing gets recorded by a bystander and goes viral, making him look like a hero.
His anonymity goes out the window—the last thing any hitman wants—and it places him just a few blocks from the crime scene of his hit, which they will surely discover is connected sooner or later, since the bangers stole his gun and used it to kill the old man.
And that wasn’t just any old man, he was the favorite candidate in the upcoming mayoral election and now that he’s dead, the current mayor is being accused of killing off his competition. And why isn’t he doing more about fixing up the city after the quakes, by the way?
The gangbangers have a witness, Roy, and they need to find him and get rid of him. But he’s looking for them too. He knows his employers are not going to be happy about his face plastered all over the news.
LAPD detective Kelly Maguire has been bumped from the gang division due to abuse of an African American rapist/murderer she was interrogating. But she’s onto something with the city’s new hero and something isn’t quite right. And there’s someone more sinister looking for Roy, someone from his past, someone who thought he was dead.
While Roy is definitely the central focal point of this story, all of the characters are attached to him, mostly through those few moments in the alley, whether that’s how they come to know him, or that’s how they come to find him.
It seems that everyone in this book is a shaker—on some form of unsteady ground, the earth splitting beneath their feet and they need to act, to choose one way or the other.
The fact that the earth is literally shaking beneath their feet and causing extra chaos is like an externalization of how these characters' lives are falling to pieces.
I really loved how each character was really humanized--the book gets into each of their heads alternatively and shows how things are not black and white. Ray may be a hitman, but he is a person, and he is a lot more than what is revealed on the surface. Kelly has a lot of anger issues and the city may now see her as a racist pig, but there is a whole 'nother life bubbling beneath her bones, and she is really good at her job. She wants to make a difference.
I didn't really know what I was getting into with this book, but it is a tightly written, cinematic, fast-paced novel, and I definitely expect more great work from Scott Frank in the future. He has already shown us what he can do with the screen, since he wrote the screenplays for Get Shorty and Out of Sight, among others. I would love to see what an adaptation of this would look like. . .
Get your copy of Shaker
Find out more about the author, Scott Frank
Find out more about the publisher, Vintage Crime/Black Lizard (Knopf Doubleday, Penguin Random House)
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Assistant editor, amateur photdographer, bibliophile, and occasional sleuth.