Each story reveals a centrifugal writer with a brilliant command of words and no fear of a plot’s getting away from him.

COWBOY GRAVES

THREE NOVELLAS

A posthumous triad of novellas by Bolaño, postmodernist par excellence, late of Chile, Mexico, and Spain.

“It’s…a novel (like all novels, really) that doesn’t begin in the novel, in the book-object that contains it, understand? Its first pages are in some other book, or in a back alley where a crime has been committed.” So says a mysterious caller to a young intellectual named Diodorus Pilon in the first novella, French Comedy of Horrors, summoning him to Paris to join the Clandestine Surrealist Group—a group so shadowy that no one quite knows what it is. Will he answer the call? Only Bolaño knows. The title piece is similarly far-flung, with our narrator starting off in Chile, moving north to Mexico, land of those cowboy graves, and then returning to Chile just in time, the chronology suggests, to get caught up in Pinochet’s fascist coup of 1973. As ever, the story contains a classic improbability: The narrator, just 15, is an accidental reader of the poet Nicanor Parra and goes off in quest of him while getting ready to leave Chile: “I didn’t know where he lived, of course….From the start, I suspected that it would be hard to get there and just as hard to get back.” The science fictional, Jesuit-twitting story within the story is vintage Bolaño while Fatherland, the third novella, is especially fragmentary and inconclusive. Set in Concepción, along the central Chilean coast, it’s a whirl of volcanoes ever about to erupt, of a Nazi fighter that appears in the skies overhead, and of the steady devolution of humankind: “We’ve progressed from the perfect execution to the concentration camp and the atomic bomb.” In an afterword, the Spanish poet Juan Antonio Masoliver Ródenas notes that the first and third stories were written in the 1990s and the second in 2002-2003, concurrently with books such as Distant Star and The Savage Detectives and perhaps even part of them at one time, which makes them no less enigmatic.

Each story reveals a centrifugal writer with a brilliant command of words and no fear of a plot’s getting away from him.

Pub Date: Feb. 16, 2021

ISBN: 978-0-7352-2288-5

Page Count: 208

Publisher: Penguin Press

Review Posted Online: Nov. 27, 2020

Kirkus Reviews Issue: Dec. 15, 2020

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An alternately farcical and poignant look at family bonds.

THE SUMMER PLACE

When a family convenes at their Cape Cod summer home for a wedding, old secrets threaten to ruin everything.

Sarah Danhauser is shocked when her beloved stepdaughter announces her engagement to her boyfriend, Gabe. After all, Ruby’s only 22, and Sarah suspects that their relationship was fast-tracked because of the time they spent together in quarantine during the early days of the pandemic. Sarah’s mother, Veronica, is thrilled, mostly because she longs to have the entire family together for one last celebration before she puts their Cape Cod summer house on the market. But getting to Ruby and Gabe’s wedding might prove more difficult than anyone thought. Sarah can’t figure out why her husband, Eli, has been so distant and distracted ever since Ruby moved home to Park Slope (bringing Gabe with her), and she's afraid he may be having an affair. Veronica is afraid that a long-ago dalliance might come back to bite her. Ruby isn’t sure how to process the conflicting feelings she’s having about her upcoming nuptials. And Sam, Sarah’s twin brother, is a recent widower who’s dealing with some pretty big romantic confusion. As the entire extended family, along with Gabe’s relatives, converges on the summer house, secrets become impossible to keep, and it quickly becomes clear that this might not be the perfect gathering Veronica was envisioning. If they make it to the wedding, will their family survive the aftermath? Weiner creates a story with all the misunderstandings and miscommunications of a screwball comedy or a Shakespeare play (think A Midsummer Night’s Dream). But the surprising, over-the-top actions of the characters are grounded by a realistic and moving look at grief and ambition (particularly for Sarah and Veronica, both of whom give up demanding creative careers early on). At times the flashbacks can slow down the story, but even when the characters are lying, cheating, and hiding from each other, they still seem like a real and loving family.

An alternately farcical and poignant look at family bonds.

Pub Date: May 10, 2022

ISBN: 978-1-5011-3357-2

Page Count: 432

Publisher: Atria

Review Posted Online: Feb. 9, 2022

Kirkus Reviews Issue: March 1, 2022

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A curious fetishization of outsiders, outlaws, and the down-and-out.

THE RAVAGED

This debut novel from Walking Dead actor Reedus follows three thematically connected yet narratively unrelated people as they journey to find themselves.

Hunter, a heavily tatted Iraq War vet and self-proclaimed gearhead, attacks his boss at the bike shop after catching him kicking a dog. “Hunter was old school,” the narrator says, rough-hewn but with strong moral fiber and a heart of gold. After learning his father died in a “mysterious house fire” in California, Hunter hops on his Buell S1 motorcycle alongside his buddies Nugget and Itch for a cross-country haul to execute the will. Meanwhile, a wealthy 65-year-old executive named Jack is mugged while traveling aimlessly through South America, neither the first nor the last of his hardships. Jack abandoned his cushy, bloodless office lifestyle after his dying mother told him to “run and never look back,” words he continuously labors to unpack. Finally, Anne, an abused teenage girl in Tennessee, steals her father’s savings and .38 revolver and runs away from home, clobbering her brother upside the head with a cast-iron skillet when he tries to stop her. She connects with her friend Trot, and they join a community of train-hoppers. Co-written by Bill, the story reads like a pastiche of Robert Pirsig’s Zen and the Art of Motorcycle Maintenance and Jack Kerouac’s On the Road, the latter of which is name-dropped as “great” by multiple characters. Though occasionally hitting some beautiful imagery of the American heartland, Reedus falls victim to implausible dialogue—“Fabiola, you are reading me like a stock report,” Jack says—and overcooked language: “flesh the color of a high-dollar medium-roast coffee bean.” Frequently wordy summaries do little to develop the thinly sketched characters; we know nearly as much about them on Page 25 as on Page 250.

A curious fetishization of outsiders, outlaws, and the down-and-out.

Pub Date: May 10, 2022

ISBN: 978-1-09-416680-3

Page Count: 292

Publisher: Blackstone

Review Posted Online: March 16, 2022

Kirkus Reviews Issue: April 1, 2022

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