NewPages Blog :: Book Reviews

You could say this is a novel about the Holocaust. You could say this is a story about secrets and the past, control and acceptance, love and emptiness. And The White Space Between is all these things, but, above all else, Ami Sands Brodoff has crafted a tale of ancestry and the familial bond. Continue reading “The White Space Between”

Family Secret is an exercise in using whimsical metaphor and sound to illustrate the rather serious business of love's inadequate worldly manifestations. With his quatrains of irreverent, fanciful observations, Murphy draws conclusions about the absurdity of love in the world we've elected to build. Continue reading “Family Secret”

A vague, unnamable danger drives much of the language throughout Howie Good’s Tomorrowland. The narrator speaks of a land in which “bodies in the early stages of decay hang like gray rags from the trees” and authorized personnel instruct evacuees “to wait for the destroying angels to tire and the broken buildings to stop burning.” It seems that the characters of this world cannot escape no matter how carefully they plot: secret police and paid snitches abound, and the whirring ceiling cameras never cease. Continue reading “Tomorrowland”

Nora Eisenberg tackles a touchy topic in When You Come Home – specifically, she writes about the mysterious Gulf War illness that afflicted a quarter of returning soldiers from the Gulf War, but, more generally, she explores the damage that soldiers sustain physically and emotionally during wartime. Continue reading “When You Come Home”

The epigraph from Prince Rogers Nelson (“The beautiful ones always smash the picture”) provides a succinct introduction to the territory Brown mines throughout Please; namely, the intersection of violence and desire. For those who may not recognize his full given name, Prince Rogers Nelson is better known simply as Prince (a.k.a. The Artist Formerly Known As…). It should come as no surprise, given the choice of epigraph, that music is one of the book’s central motifs. Continue reading “Please”

Don’t let the title or shadowy sepia cover fool you; this is not your typical Middle Eastern novel: sad, dark, slow, un-relatable. There are no silent, dark-clad, wise old women or handsome, ruthless, old-fashioned, but still socially respectable young men. The plot isn’t made slow by verbally artistic renditions of the dusty scenery or groups of loyal women milling around the well. The tone is not sad in a “you’ll-never-know-what-it’s-like, feel-sorry-for-the-lot-of-us, but-our-life-is-beautiful,” distant kind of way. Continue reading “The Madwoman of Bethlehem”

Celia, a teacher, writer, and mother in her fifties, undergoes psychoanalysis after nearly being killed by a passing taxi. Finding that she has bottled away years of painful memories, she obsessively engages in her work with Dr. Daniels, to whom she pours out stories and dreams about her mother who committed suicide, her relationship with various members of her extended family, and longing for her grown son who lives across the country. Continue reading “Some Place Quite Unknown”

Ron MacLean, author of the 2004 novel Blue Winnetka Skies, surges forward with his new collection of short stories, Why the Long Face? The collection’s witty, and at times wry, take on the ordinary stuff of life works to subtly reveal the extraordinary nature hidden in even the most common events. Continue reading “Why the Long Face?”

The word “politics” comes from the Latin politicus and means, according to Merriam-Webster, “of or relating to government, a government, or the conduct of government.” It’s the conduct of government – George Bush’s government – that concerns most of the 50 poets collected here. Some are famous; some are new. All are accomplished and impassioned. Continue reading “State of the Union”

On a seemingly ordinary day, Andreas decides to change the course of his life. He’s empty, worn out and sick of life’s routines, but he’s also learned that he may have cancer. Almost immediately, Andreas decides to quit his job, sell his Parisian apartment of 20 years and return to his hometown in Switzerland to visit, and perhaps act upon, an unrequited love. Continue reading “On a Day Like This”

The logic behind the 2×2 series, published by the Feminist Press, goes something like this: selected works by two authors (one male, one female) dealing with a similar theme or subject are juxtaposed in a single book. The blurb on the back of the jacket puts it this way: “Love. Death. Conflict. Civilization and its discontents. Do women and men tackle these enduring themes differently? [2×2] matches short works by great women and men writers and lets you be the judge.” Continue reading “Inventing the Real”

Kyle Buckley’s first book, The Laundromat Essay, is a postmodern mix of poetics, absurd parable and essay. Continue reading “The Laundromat Essay”

Legible Heavens is a difficult book. Not because of any abstruse references or language, but because after examining the long sequences Mr. Hix has strung together, the flow of one image to the next, and the tenuous chains of implication, you may not be sure of what he said. Continue reading “Legible Heavens”

Although only 106 pages long, Forrest Gander’s first novel is freighted with the emotional complexity and gritty vividness of a heavy-weight book several times as long. Continue reading “As a Friend”

With the stories of Jean Ross Justice, it is moments and images you come away with, details that stay with you long after the stories as a whole have faded. Continue reading “The End of a Good Party and Other Stories”

Dirk Stratton’s new chapbook of poems, A Series/A Sequence, is a throwback of sorts. In an age where E-Books and particularly E-Chaps are abundant due to the explosion of the blogosphere and readily available publishing software, Stratton’s chap is handmade and released in a very limited run. The book is constructed “old-school”: side stapled, stock cover, paper one could find at a neighborhood Kinkos. Rather than seeming fly-by-night and hurried, however, A Series/A Sequence is lovingly made, with beautiful embossed imprints on each cover – notice I do not say the “front” and “back” of the book. A Series/A Sequence is actually two separate suites of poems that are thematically and aesthetically linked. Hold the book one way, one can read through “Capitulation Suite,” which constitutes the Series part of the chap. Flip the book over and one discovers another suite of lyrical, borderline-concrete poems entitled “Laiku,” which makes up the Sequence. In constructing the chap in this manner, NeO Pepper has joined a growing movement of grassroots to make poetry books that are pieces of art as opposed to mass-produced commodity. The pleasures of A Series/A Sequence rest in its construction as much its poetry, though one feels inextricable from the other. Continue reading “A Series/A Sequence”

Everything I know about Iceland could fit into a shoebox: two Björk CDs, a six of Viking beer, a tin of cured ram scrota (a gag gift by one of my “friends”). But I do find the unique and au courant alluring, and my ventures into the unknown often prove worthwhile or at worst innocuous (the only extreme exceptions being Riverdance and Robo-Tripping – I seriously advise you to lay off both, no matter what the cool kids say.) Continue reading “The Pets”

Reading Margaret Christakos’s poetry on the page is like reading sheet music. You don’t get the full effect until you hear it. And when you do hear it, when you read it aloud to yourself, you realize that the music is wildly experimental and takes some participation. Christakos, in What Stirs, challenges you to meet her halfway. There’s nothing passive about these poems. Continue reading “What Stirs”

It was during the decade of the First World War, 1910-1920, that the Imagist poem came to fruition. Imagist poetry was part of the literary revolt in the United States and England against the staid and formal techniques of the nineteenth century. William Pratt, in the introduction to his indispensable anthology The Imagist Poem – Modern Poetry in Miniature, quotes Imagist poet F.S. Flint’s three rules by which the Imagist poem exists: Continue reading “The Imagist Poem”

In contemporary experimental poetry, we a have vast collection of schools: lang po, post-modernists, ultra-modernists, post lang-po writers, etc. Among this large pool of innovation, we find Stephanie Strickland and her fifth book of poetry, Zone : Zero, recently released from Ahsahta Press. Continue reading “Zone : Zero”

Karen Chase’s second collection of poetry is not only about the significance of bears in terms of humanity’s barbaric need to destroy them through poaching, it is also a metaphorical and allegorical device that permits the author to impart tremendously beautiful narratives, often centered on the most painful and burdensome subjects in her own life. Her poems are emotional songs that dig their claws into your flesh until you simply respond or comprehend what is at stake. These poems of remembrance bridge the gap between the world of the beast, the bear, and the not-so-dissimilar world of human beings often overcome with the same primal tendencies. Continue reading “Bear”

In his introduction to The House of Your Dream, Peter Johnson, founding editor of the influential and now defunct magazine The Prose Poem: An International Journal, writes, “About twenty years ago we prose poets lived in relative obscurity, lucky if we could get editors to read, much less publish, our work.” He goes on to recount briefly a history of the genre: its beginnings during the late 60’s and early 70’s in Michael Benedikt’s anthology of prose poems, the several international renaissances it has undergone over the decades, and the current generation of prose poets writing now. He offers the White Pine anthology as a sort of recent history of the prose poem, and with him Alexander and Maloney agree. They write in a short editors’ note in the frontspace of the book, “given the predilection we both feel for the magical form that is the prose poem, it didn’t take long for us to conceive of a prose poem anthology drawn from all the books that White Pine has published (or will soon publish) in its variegated career.” Continue reading “The House of Your Dream”

Leslie What, an author whose publication credits include numerous short stories in journals and anthologies as well as a novel and short story collection, is a Nebula Award Winner whose creativity and imagination are boundless. Crazy Love is a collection of 17 short stories that stop at nothing to convey the limitless possibilities of love and its tremendous potential for both honesty and hilarity. Continue reading “Crazy Love”

Inside the back cover of Drew Kalbach’s chapbook of prose poems is a section of text from the author, in which he writes one seemingly random sentence after another about the collection: “several children read the manuscript, but they started crying” and “it is a tribute to the ninja turtles disguised as a marilyn manson song disguised as real poetry” are two of the tamest examples. But among the chaos of this self-deprecating afterword, Kalbach has this thought about the chapbook: “it is so deep and layered that you can’t read it, you must climb through it.” Despite his immediately negating that idea by writing “there is no depth,” I could not help but grasp at the metaphor; it seemed to describe my own experience with the poems. These prose poems do have depth, and I didn’t so much read them as climb through them, over words and images, across sentences and line breaks. Continue reading “The Zen of Chainsaws and Enormous Clippers”

Derived from emails, comments, and notes sent by students to her husband who is a physics professor, with Dear Professor, Do You Live in a Vacuum, Nin Andrews has collected a series of short epistolary poems with mixed results. Continue reading “Dear Professor,”

The Tsar’s Dwarf is Danish author Peter H. Fogtdal’s first novel to be translated into English. Sørine Bentsdatter, Fogtdal’s unusual heroine, is brilliantly rendered. A deformed female dwarf living in the early 18^th century, Sørine is wittily acerbic, angry, and indifferent. She’s also shrewd, sensitive, and fiercely intelligent. At times she’s compassionate and almost kind; at others, her actions are questionable, even deplorable. Always, Sørine is human. Continue reading “The Tsar’s Dwarf”

In BC Hall and CT Wood’s travelogue, Big Muddy: Down the Mississippi through America’s Heartland, they claim that the old dividing line between North and South, the Mason-Dixon, is arbitrary and outdated, a relic from a property dispute by two English astronomers in the 1760s. Continue reading “On the Mason Dixon Line:”

Don’t read the back cover; Dismantling the Hills is not a love song to forests alive with work crews. It is an elegy for the soul-crushing life in the logging countries of Oregon, highlighted and made ironic against the background of a majestic Nature that should not only have been benign, but inspirational. Continue reading “Dismantling the Hills”

“I pulled my mother’s head out of the cream of wheat and wiped off her face and neck with a well worn green and yellow sponge from the kitchen sink.” And so goes the first line of Barry Graham’s chapbook Not a Speck of Light is Showing, a violent, rough, oversexed collection of flash fiction that, despite its hard-edged nature, tends to welcome readers at the oddest moments with its surprising revelations of humor and tenderness. Take this quote from “Dishonorable,” for example: Continue reading “Not a Speck of Light is Showing”

The Monster Loves His Labyrinth will be one of the final titles published by Ausable Press, whose ten-year run as an independent poetry house ends in 2009, in a merger with Copper Canyon. It is an attractive volume, from the Varujan Boghosian collage on its front cover, to the reproduction of Saul Steinberg’s sketch of Charles Simic on the back. Inside is a selection of undated memories, aphorisms, observations, fragments and dreams from Simic’s notebooks. The entries afford us a glimpse of Simic’s preoccupations and passions, in a more elemental form than in his finished poems. There are moments of rare beauty and insight throughout. Continue reading “The Monster Loves His Labyrinth”

Kafkaesque is a term that is passed off superfluously in today’s impalpable literary landscape. However, if there is one author that would be a suitable to such an intricate title, poet and author Jesse Ball would be a likely candidate. This is by no means meant as a reduction. The author of a prize winning collection of poetry (March Book) and a stirring novel (Samedi the Deafness), Ball’s prolific output, as well as his command over his singular voice, often lead him astray from Kafka’s parochial table. Yet one has little doubt his newest collection, Parables and Lies, is indebted, if not a conscious tribute, to the short works of the Czechian master. Continue reading “Parables & Lies”

Spanning his entire career, Eric Pankey’s The Pear as One Example includes selections from seven previous collections of poems, as well as a complete new collection, Deep River. Brand new to his work, I was immediately impressed by his linguistic virtuosity, especially his botanist-like knowledge of flora and fauna, and his poetic range, from vividly described narrative-lyrics to ontological meditations. Pankey is a poet-naturalist, and in the tradition of Emerson and Thoreau, whatever truths and visions emerge in his poetry he earns from precise observation. Continue reading “The Pear as One Example”

Kyle Minor’s stories take place in some pretty rough terrain. The first three words of “The San Diego County Credit Union Poinsettia Bowl Party,” the opening story in In the Devil’s Territory, tell us that the narrator hates Christmas. Then we learn that his family’s Christmas gathering, which would be stifling in any year, is complicated by his wife’s high-risk pregnancy, his sick and unruly child, and his mother’s painful recuperation from surgery. This year, the family is not celebrating Christmas, it is suffering an ordeal. Continue reading “In the Devil’s Territory”

Daniel Gabriel’s Tales from the Tinker’s Dam centers around The Tinker’s Dam – a pub in the Vale of Glamorgan in Wales. Reminiscent of James Herriot’s All Creatures Great and Small or Garrison Keillor’s Lake Woebegone Days, these are tales in the best sense of the word, being both humorous and human. Continue reading “Tales from the Tinker’s Dam”

Described as “a rollicking epic adventure poem of foxy revolutionaries battling a fascist government,” the guts of Matthew Rohrer’s newest chapbook ask for more than just lighthearted fanfare. A departure from the thoughtful and romantic altered-states found in his defining collections Satellite and last year’s Rise Up, They All Seemed Asleep is a minor politically driven marathon that confronts the outrage and confusion brought on by authoritarian powers. Continue reading “They All Seemed Asleep”

Crane Cavanaugh is one of the most endearing, strange and exceptional protagonists I have encountered in recent memory. Take the strong opening of the prologue: Continue reading “Salvation”

Readers of David McGlynn’s debut collection The End of the Straight and Narrow should put aside any assumptions they may have about religious fiction and its sometimes evangelical qualities. The stories in this book break away from the generic conventions of Christian literature both in form and content. This is due to the often complicated, expansive nature of each story’s unraveling and the many struggles the characters face regarding faith and morality in a secular culture. Reading this book, one gets the sense that these are stories about pathetic people rather than some allegorical world vision. Unfortunately for McGlynn’s characters, there is no clear difference between right and wrong, good and evil, and this confusion often leads them through some of the darkest moments of their lives. Continue reading “The End of the Straight and Narrow”

In Hesh Kestin’s Based on a True Story, three novellas set during the World War II era take readers on a journey from East Africa to the South Seas to Hollywood. A former foreign correspondent, Kestin peppers his tales with exotic plots and resilient characters.

In Ginnetta Correli’s debut novel, The Lost Episodes of Beatie Scareli, the reader, cast as an audience member, is no less a part of the script than the other offbeat characters. The only stipulation is that our participation is limited solely to watching the scenes play out from Beatie Scareli’s unfortunate life. Written as a pseudo-screenplay, the “cast” includes Beatie’s father, a neglectful man with a strong potential for danger; Beatie’s mother Frata, a schizophrenic who believes she is Lucy Ricardo; Beatie at age 12; Beatie as an adult commenting on scenes from her troubled youth; and the reader, identified simply as “You.” Continue reading “The Lost Episodes of Beatie Scareli”

In Dominique Fabre’s The Waitress Was New, the narrator Pierre, affectionately known as Pierrounet, is a veteran bartender in the Parisian suburb of Asnières. He is fifty-six and has worked at Le Cercle bistro for 30 years. He spends his days watching people rush to and from the train station, serving his customers, empathizing with them and even, at times, emulating them – a young man in black broods over a beer and Primo Levi and Pierre attempts to read If This Is a Man at home just “to keep up on things.” Continue reading “The Waitress Was New”

Thimbles, nosegays, daguerreotypes, Baudelaire – only the most precious and precocious of objects are presumed to hold value in the culturally saturated world of Donna Stonecipher’s The Cosmopolitan. Borne of an interest in the found-object shadow boxes of artist Joseph Cornell, and built around isolated quotations of renowned poets, writers, and scholars, this 2007 National Poetry Series Winner ponders the reduction of existence to a collection of novelties showcased behind glass. Continue reading “The Cosmopolitan”

Norman Waksler’s second short story collection Signs of Life reveals just that. Throughout these colorful vignettes, the reader detects signs of life, a glimpse of those small elements that illustrate humanity’s solidarity. The six stories tumble through our consciousness, some unearthing a longing for the past or the sweet innocence of first love, others revealing the inevitable regret that stems from apathy and the dull disappointment of the typical workday. Continue reading “Signs of Life”

Translated from Czechoslovakian by the noted curator, producer and journalist Marek Tomin, Emil Hakl’s Of Kids and Parents received a Magnesia Litera Book of the Year award in 2003 and has been made into a feature film. With the English version debuting this year from the Prague-based publisher Twisted Spoon Press, this engrossing book is worth checking out. Continue reading “Of Kids and Parents”

Eugene Marten's second novel Waste will entrance you from the very first page, drawing you in with its tight, evocative language and magnificent pacing. For the first third of the book, you'd be excused if you thought that all you were getting was a wonderfully written but generally quiet book about a creepy janitor working late nights in a high-rise office building. You'd be wrong, but your mistake would be understandable, and quickly rectified: What follows is one of the most disturbing stories I've read. Continue reading “Waste”

From the beginning epigraphs to the last grasping on the final page, the sanity-bending, necessarily inadequate search for permanence is clearly foremost in Mark Halliday’s mind. With its nuanced, multi-faceted meditations on those things that matter most, Keep This Forever moves naturally through three sections from the question of mortality, brought on by turning over the death of his father in his mind; to the primary solace for most people, love and passion; until we are finally left with what the blessed few cling to in the end: their art. Continue reading “Keep This Forever”

David Gianatasio’s Mind Games messes with your head, but in the best way possible. A follow-up to 2006’s Swift Kicks, this brief collection of stories grabs you by the jugular. A mutiny of fervent voices bursts from the page, and each story is clever, bold, and off-the-charts surreal. Continue reading “Mind Games”

Who Can Save Us Now? is a collection of twenty-two short stories that each provide a new take on superhero lore, twisting and turning genre conventions on their head in the hopes of providing a new experience within the framework of the short story. Editors Owen King and John McNally use the book’s introduction to reflect on the difference between our world and the one that provided the more black-and-white conflicts of the Golden Age of comic books, setting the stage for tales of new superheroes “whose amazing abilities reflect and address our strange and confusing new conditions,” specifically the more modern terrors of “suicide bombers, dwindling oil reserves, global warming, and an international community in complete disrepair.” Continue reading “Who Can Save Us Now?”

The quietly reliable narrator of In Hovering Flight, Joyce Hinnefeld’s first novel, is an everywoman character named Scarlet Kavanaugh, who, despite being raised unconventionally by her bird-loving parents, is a remarkably subtle and relatable character. Possessed of her own interesting personality, Scarlet isn’t excessively pro-nature like her recently deceased mother, Addie, or high society like their family friend, Lou. She is, however, the possessor of one of the three secrets that will eventually draw the primary themes of the entire novel together. Continue reading “In Hovering Flight”

Michael Kimball’s third novel, Dear Everybody, is wonderfully subtitled “A Novel Written in the Form of Letters, Diary Entries, Encyclopedia Entries, Conversations with Various People, Notes Sent Home from Teachers, Newspaper Articles, Psychological Evaluations, Weather Reports, a Missing Person Flyer, a Eulogy, a Last Will and Testament, and Other Fragments, Which Taken Together Tell the Story of the Short Life of Jonathon Bender, Weatherman.” Kimball juxtaposes these fragments to cultivate a swirl of humor and sadness, giving the reader a palpable sense of Jonathon’s intense alienation and loneliness at the center of the increasingly unhappy Bender family. Continue reading “Dear Everybody”

In Deb Olin Unferth’s Vacation, people are always following each other from one place to another, starting with Myers, a middling office worker whose main distinguishing characteristic is a dent in his skull from jumping out a window when he was young. When he discovers that his wife is spending her evenings following a man named Gray through the streets of New York City, he begins to follow her himself, a process that stretches wordlessly through the first two years of their marriage. Later, after Myers and his wife decide to separate, Myers goes looking for Gray directly, leading to yet another chase that takes him across the Americas in search of a man who, if not exactly a rival, is still the closest thing Myers has to a cause for the dissolution of his marriage. There are other characters throughout the book who have their own loved ones or enemies to follow, each of their stories intersecting the love triangle of Myers, his wife, and Gray, until the book is just one more place for its characters to get lost in, to lose sight of their goals, to find, if not what they were looking, then maybe something they needed instead. Continue reading “Vacation”