No good, very bad. A novel as vapid, humorless, and insufferable as all the characters that populate it. Only got through it because I kept imaginingNo good, very bad. A novel as vapid, humorless, and insufferable as all the characters that populate it. Only got through it because I kept imagining that the "we" in the title is we readers and "the people" are all these characters. Ginder is a good writer (hence two instead of one stars) but this story and its people have nothing to recommend them....more
Basically fine. Probably 3.5. Often laugh-out-loud funny, sometimes guffaw-worthy, and then some eye-rolling. In need of some trimming and tightening,Basically fine. Probably 3.5. Often laugh-out-loud funny, sometimes guffaw-worthy, and then some eye-rolling. In need of some trimming and tightening, especially in the latter half....more
Loved this! A must-read if you're late-blooming runner (as I am). It's part running memoir but also part history of women runners (which, embarrassingLoved this! A must-read if you're late-blooming runner (as I am). It's part running memoir but also part history of women runners (which, embarrassingly, I knew nothing about - which is part of her point). It's sad, smart, hilariously self-deprecating, and absolutely inspiring. ...more
No two ways about it: Marcus Sakey's new novel, Afterlife, is ambitious. Even though it clocks in at only about 300 pages, it has elements of several recognizable creative triumphs: The movie Inception, Stephen King's Dark Tower series, Gaiman's American Gods, and Nelson DeMille's best police thrillers, for starters. Hell, there's even a love story here. Perhaps this is why Sakey admits in the acknowledgments, "This one was a beast." Sakey spent "nearly a decade" with this novel, writing and rewriting, fleshing out ideas, and solving problems.
The result is a polished, compelling, inventive "alt-fic" (a genre Sakey just invented) novel that's by turns smart as hell and as shocking as they come. This was a novel I had to put down several times in astonishment, take a deep breath, and then keep reading. It's really mesmerizing in spots — Sakey gets pacing just right here, which is no small feat given the relative complexity (especially in the last third of the novel), the characters, and just how all this fits together.
Here is what happens: Will Brody is an FBI agent chasing a serial killer in Chicago who gets his jollies sniping innocent victims at gas stations and grocery stories. Acting on a tip, Brody is searching for clues in an abandoned church, when it blows up. He's dead. This happens on page 38 — a risky decision for any novelist to kill a main character so early. (Not a spoiler: This is on the back blurb.)
His boss and erstwhile secret lover, the ultra-competent director of the FBI's Chicago office, Claire McCoy, vows to find the killer(s). And while doing so, she also must mourn in secret because no one knows she and Brody were together.
Meanwhile, Brody wakes up. Sort of. He's in a place he comes to understand is an "echo" of real-life — an afterlife that resembles real life in many ways, but has many glaring differences as well.
In this afterlife, there's a choice, just as there is when you're alive: You can choose to be good, and help other people. Or you can choose to be evil, and live only for selfishness. In the opening pages of the novel, we actually get a glimpse of what this evil looks like. And it's terrifying. So Brody soon finds himself stuck in this mythological battle of good vs evil in the afterlife. That's all you need to know plot-wise to get you started. What happens with Claire and Brody's cross-dimension love story? How does Brody fight this mythological and powerful evil? Read it, man. It's worth the trip!
One of the things I loved about this novel is Sakey's vision of how the afterlife works. I got to sit down and talk with him about it a few weeks ago as I worked on a piece for the Chicago Review of Books, and Sakey told me the sort of spark for the novel was how we're so sure that there is going to be an answer for what happens when we die. So what happens if there's either not an answer, or the answer is completely unexpected? Sakey's afterlife has some very specific rules in how it behaves and how its occupants can behave in it — and spelling these out had the potential to bog down what is otherwise an extremely fast-moving story. But Sakey describes these "rules" quickly and clearly and moves on. It's a definite strength of the novel.
Another strength here is dialogue — Sakey is funny. Sakey is cool. And after talking with him for an hour, it's apparent how much of his personality comes out on these pages in dialogue. He mentioned that to him the patron saint of dialogue is Aaron Sorkin, and you can see that influence here. Dialogue is quick, snappy, sharp, and often really funny.
This is one of my favorite novels of the year — I really enjoyed it, both for sheer entertainment, but also for its inventiveness. I had a blast with book. Highly recommended!...more
We're living in charmed literary times, friends! Last May, Richard Russo published Everybody's Fool, a sequel to his novel Nobody's Fool, and there was much rejoicing because it was excellent. Today, he publishes Trajectory, a new volume of short stories — only his second (after 2002's The Whore's Child & Other Stories).
Trajectory is fantastic! There are only four stories here, but three of them are longer than average short stories. This includes the near-novella length "Voices," about an aging and perhaps disgraced English professor named Nate who is visiting Venice with his older brother, a shady dude who seems to have involved Nate in one of his schemes. Nate and his brother Julian have serious reckoning to do, both with their shared past, but as well as their individual pasts as well.
All four of these stories, in fact, are about aging people — college professors, a writer, and a real estate agent. In "Horseman," an English professor named Janet catches one of her students cheating, and then begins to question whether her own academic career is a fraud. In "Intervention," an aging real estate agent, who may or may not have cancer, tries to sell a house owned by a stubborn woman who won't get rid of her stuff to an obnoxious Texas couple in the dead of Maine winter at the height of the Great Recession. Challenging, to say the least.
My favorite story in the collection is the last one, "Milton and Marcus," about an aging novelist named Ryan who has dabbled in screenplays to help pay the bills. Now, he's hoping to return to the realm of the silver screen to secure health insurance from the Screenwriter's Guild for his ailing wife. He flies to Jackson Hole to take a meeting with a famous actor-turned-producer who wants to make a movie from the start of a screenplay Ryan wrote 10 years ago for another actor who has since died. While he's there, we're treated to an account of the sneaky, cynical, backstabbing nature of the movie business, and it's utterly fascinating, if not a bit sad. This story is Russo at his best — his understanding of human nature and feelings and motivations is just unapproachable. As well, this story felt the most autobiographical of any in the collection. Really terrific.
If you're a Russo fan, this is a must-read. He's absolutely at his the height of his game here — his little jokes and folksy aphorisms ("all hat and no cattle," eg) are all here, as is his typical whip-sharp insight. He's just a fun writer to read, whether short story or novel. This is highly recommended!...more