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THE REVOLUTIONARIES TRY AGAIN

Name: THE REVOLUTIONARIES TRY AGAIN
Author: Mauro Javier Cárdenas
ISBN: 978-1-56689-446-3

by Mauro Javier Cárdenas ‧ RELEASE DATE: Sept. 6, 2016

A strong debut written with nuance and authority.

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Debut author Cardenas explores youthful idealism, friendship, and the legacy of corruption in this novel set in Ecuador.

Leopoldo Hurtado calls his childhood friend Antonio in California and persuades him to return home to Ecuador after a 10-year absence. As classmates at the elite San Javier school, they'd believed themselves responsible for the country's future. Influenced by a radical priest who demanded "How are we to be Christians in a world of destitution and injustice?" they catechized the poor and visited the dying. But corruption and instability abound, and the immoral lifestyle of their rich classmate Julio holds an undeniable appeal. Antonio displays a weakness for expensive clothes he can't afford, leading to rumors at Stanford that he's a dictator's son. Will Leopoldo and Antonio run for office, saving Ecuador from corrupt oligarchs? Or will despair, and their own moral failings, prove too great? Connecting threads follow their poor former classmate Rolando who now runs a radio show, his girlfriend, Eva, and his sister, Alma, who embarks on a harrowing journey to the U.S. after Julio attempts to rape her. Cardenas leavens his material with sly humor and references to everything from Neruda and Julio Cortazar to ABBA and The Exorcist. The friends play a made-up game called Who's Most Pedantic? Leopoldo wonders if the Jesuits built rooms with high ceilings "so that when the time came for the old and the infirm to die the priests could direct them to the vast pointlessness of the lord above?" A statue of the Christ child weeps real tears. Writing sometimes in sentences that stretch for pages, sometimes in fragmented stream-of-consciousness, even briefly in Spanish, Cardenas displays an ambitious intelligence that eschews easy answers. His inclusive sympathy is balanced by an unsparing eye. By the end, Antonio questions his own motives for returning, asking himself "how are we to be humans in a world of destitution and injustice."

A strong debut written with nuance and authority.

Pub Date: Sept. 6, 2016

ISBN: 978-1-56689-446-3

Page Count: 288

Publisher: Coffee House

Review Posted Online: June 21, 2016

Kirkus Reviews Issue: July 1, 2016

Categories:

LITERARY FICTION

- PROFILES
Mauro Javier Cardenas

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THE MOST FUN WE EVER HAD

by Claire Lombardo ‧ RELEASE DATE: June 25, 2019

Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...

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Four Chicago sisters anchor a sharp, sly family story of feminine guile and guilt.

Newcomer Lombardo brews all seven deadly sins into a fun and brimming tale of an unapologetically bougie couple and their unruly daughters. In the opening scene, Liza Sorenson, daughter No. 3, flirts with a groomsman at her sister’s wedding. “There’s four of you?” he asked. “What’s that like?” Her retort: “It’s a vast hormonal hellscape. A marathon of instability and hair products.” Thus begins a story bristling with a particular kind of female intel. When Wendy, the oldest, sets her sights on a mate, she “made sure she left her mark throughout his house—soy milk in the fridge, box of tampons under the sink, surreptitious spritzes of her Bulgari musk on the sheets.” Turbulent Wendy is the novel’s best character, exuding a delectable bratty-ness. The parents—Marilyn, all pluck and busy optimism, and David, a genial family doctor—strike their offspring as impossibly happy. Lombardo levels this vision by interspersing chapters of the Sorenson parents’ early lean times with chapters about their daughters’ wobbly forays into adulthood. The central story unfurls over a single event-choked year, begun by Wendy, who unlatches a closed adoption and springs on her family the boy her stuffy married sister, Violet, gave away 15 years earlier. (The sisters improbably kept David and Marilyn clueless with a phony study-abroad scheme.) Into this churn, Lombardo adds cancer, infidelity, a heart attack, another unplanned pregnancy, a stillbirth, and an office crush for David. Meanwhile, youngest daughter Grace perpetrates a whopper, and “every day the lie was growing like mold, furring her judgment.” The writing here is silky, if occasionally overwrought. Still, the deft touches—a neighborhood fundraiser for a Little Free Library, a Twilight character as erotic touchstone—delight. The class calibrations are divine even as the utter apolitical whiteness of the Sorenson world becomes hard to fathom.

Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet another pleasurable tendril of sisterly malice uncurls.

Pub Date: June 25, 2019

ISBN: 978-0-385-54425-2

Page Count: 544

Publisher: Doubleday

Review Posted Online: March 3, 2019

Kirkus Reviews Issue: March 15, 2019

Categories:

LITERARY FICTION | FAMILY LIFE & FRIENDSHIP

- AWARDS
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- SEEN & HEARD
Reese’s Book Club Reveals April Pick

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HOUSE OF LEAVES

by Mark Z. Danielewski ‧ RELEASE DATE: March 6, 2000

The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...

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An amazingly intricate and ambitious first novel - ten years in the making - that puts an engrossing new spin on the traditional haunted-house tale.

Texts within texts, preceded by intriguing introductory material and followed by 150 pages of appendices and related "documents" and photographs, tell the story of a mysterious old house in a Virginia suburb inhabited by esteemed photographer-filmmaker Will Navidson, his companion Karen Green (an ex-fashion model), and their young children Daisy and Chad. The record of their experiences therein is preserved in Will's film The Davidson Record - which is the subject of an unpublished manuscript left behind by a (possibly insane) old man, Frank Zampano - which falls into the possession of Johnny Truant, a drifter who has survived an abusive childhood and the perverse possessiveness of his mad mother (who is institutionalized). As Johnny reads Zampano's manuscript, he adds his own (autobiographical) annotations to the scholarly ones that already adorn and clutter the text (a trick perhaps influenced by David Foster Wallace's Infinite Jest) - and begins experiencing panic attacks and episodes of disorientation that echo with ominous precision the content of Davidson's film (their house's interior proves, "impossibly," to be larger than its exterior; previously unnoticed doors and corridors extend inward inexplicably, and swallow up or traumatize all who dare to "explore" their recesses). Danielewski skillfully manipulates the reader's expectations and fears, employing ingeniously skewed typography, and throwing out hints that the house's apparent malevolence may be related to the history of the Jamestown colony, or to Davidson's Pulitzer Prize-winning photograph of a dying Vietnamese child stalked by a waiting vulture. Or, as "some critics [have suggested,] the house's mutations reflect the psychology of anyone who enters it."

The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly. One of the most impressive excursions into the supernatural in many a year.