Ever since I was small, I’ve always imagined myself somewhere else when I go to sleep. Someplace outdoors, usually, someplace wild, a rainforest or a mountainside or an island off a rocky coast. I’ll be traveling, escaping something maybe, and I’ll have found or made some kind of shelter. Rain or snow or wind will be battering it, but I’ll be warm and protected.
Of course, I knew when I ran away from home that it wouldn’t be like that, and it wasn’t. I slept in a tent pitched under a leaning redwood stump in a canyon north of Mendocino, less than twenty-five miles from home. It was summer, so there was no snow or rain, but every morning and most afternoons there was cold fog that couldn’t be kept out. My feet felt like blocks of wood. Banana slugs clung to the outside of the tent. Spiders found their way into my sleeping bag. I was living on apple juice, peanut butter, and raisin bread.
I spent too much time thinking. About my mother’s suicide, about who should or shouldn’t have done or said what, about how it played out in parallel universes. We’d all seen it coming, my father and my brother and I. She’d been depressed, delusional, obsessive for years. But (as I saw it that summer, anyhow) I was the only one who felt guilty about it, who thought there was something more we could have done. My father seemed fatalistic about it, my brother downright nonchalant. That was what had driven me out of the house, that one last feeble protest I felt I had to make. Continue reading
Review by Tess Tabak
You know how sometimes, you can tell a book is written by someone fresh out of an MFA program? The writing is promising, but the plot is not quite there yet (for a story about a young girl struggling to fit in at school, there is much over-dramatization). The descriptions are sharp, but often overblown (almost every single item named gets three adjectives or descriptors, or sometimes random bursts of alliteration – “the professor had spent the entire hour enigmatically pushing peripheral points she hadn’t studied well.” The central character is a young misunderstood girl with a flowery name (in this case, Laurelie).
I was really with The Bobcat up until the last 50 pages or so. I rolled my eyes occasionally at the MFA program trappings, but it’s a short read and the simple thread of a girl overcoming trauma by pursuing a mysterious man was compelling enough to keep me turning pages.
Unless this book is supposed to take place decades ago, a lot of the twee harkenings back to old-timey things just don’t make sense – and if it is supposed to take place decades ago, there’s really no hint besides the way the characters are acting, and the lack of cell phones or technology mentioned. For example, Laurelie is postured as morally purer than all the fancy city girls at her college who read like one dimensional ‘mean girls’ because instead of wearing designer garbs, she makes her own clothing – even though nowadays, anyone who makes their own clothing probably cares way more about their appearance than not, since it’s much more difficult to make than to just buy something cheap at Old Navy or a thrift store.
There was nothing more distressing for Lucas than walking the halls of the hospital. He shuffled his slippers in agonizing slowness while pulling an IV cart by his side as if it were an annoying friend that couldn’t take no for an answer.
He dreamt of being with Diane, walking along the Mesa of Santa Barbara that overlooked the beautiful ocean vista. They loved to lean against the wooden fence at the edge of the cliff and watch the speed boats cut across the Pacific, the hang gliders soaring so effortlessly in the sky, and the surfers balancing on their boards while riding the cresting waves.
Lucas labored alone down the hallway of the Pulmonary Care Unit with two defective lungs, a heart that was barely beating, and an IV cart joined at the hip. Continue reading
Review by Tess Tabak
The book’s translator asked to remain anonymous for fear of safety
This haunting, evocative novel spins a finely woven tapestry out of the Iranian Revolution, djinns and mermaids, and family lore. If you’re willing to go on a meandering journey, Shokoofeh Azar takes you to unique and hauntingly strange places.
This novel truly feels like a piece woven from disparate threads to create a whole. At no point until the end did I ever have any particular idea where the book was going, but I was engaged throughout. Azar sets the tone of magical realism juxtaposed with harsh realities early on, from the very beginning, when the narrator’s mother receives enlightenment from a greengage tree: “Beeta says that Mom attained enlightenment at exactly 2:35 p.m. on August 18, 1988, atop the grove’s tallest greengage plum tree on a hill overlooking all fifty-three village houses, to the sound of the scrubbing of pots and pans, a ruckus that pulled the grove out of its lethargy every afternoon. At that very moment, blindfolded and hands tied behind his back, Sohrab was hanged.” Continue reading
Review by Tess Tabak
Brett is a hopeless romantic who finds herself middle-aged, washed out with fading looks and her fiery independence dulled by brain damage. Enter Cash, a former drug addict turned born-again Christian. When the two enter into an unlikely, impulsive marriage, the meat of Jennifer Spiegel’s novel, And So We Die, Having First Slept, begins.
You don’t necessarily think of an abusive marriage as grounds for a great romance novel, but Spiegel has such a remarkable talent for capturing characters that it never feels forced. Cash and Brett feel like real people trapped in a dark place, working through their demons together. Where Cash is addictive, sulky and at times violent, Brett has a fierce need to be loved by someone, and a belief both that her value as a woman is fading and that it’s her wifely duty to stand by her man. Though religion is a big part of the narrative, Spiegel doesn’t portray them as Christian monoliths. She explains both characters’ complicated and ever-changing relationship to their faith. Continue reading
It occurred to me at some point during our second date that Mike might not exist in real time.
When we first met, he seemed friendly—cruelty-free, like a human-sized rabbit. We ate at Lenny’s Subs off I-35. On the way, he wheeled his big, white Texas truck backwards through the drive-thru of a shuttered restaurant. It seemed like the perfect accident—a ploy to make me accept his wonky habits.
Waiting in line at the shop, he cracked jokes that made me roll with laughter. I told him I used to work there—that I was once a struggling sandwich artist who was so busy fixing cold cuts and meatball marinara, I hardly had time to sit down and eat them. Continue reading