My Review of Shane Jones’s The Failure Six

The mighty Brooklyn Rail has just published my review of Shane Jones’s The Failure Six. Here’s an excerpt:

A Jesse Ball magic mystery tour in a land of Calvino’s fables? With zany temporal shifts and winsome absurdities, Light Boxes, Shane Jones’s refractive first book, dispatches readers on just such a journey. Lyrical flights and evocative metaphors render the prose in poetic terms. In The Failure Six, Jones methodically dispenses with storytelling, surrendering the text to one strange and beautiful image after another:

The teahouse was tall and narrow, consisting of nineteen floors. The furniture was all wood, made by a carpenter who was a well-known acquaintance of the owner. Each floor had different-colored wallpaper and on each wall hung large paintings of country barns. All the wooden beams in the teahouse were covered in odd patches of red fur.

Thanks, John Reed.

Powell’s Books Republished My Review of Andrew Zornoza’s Where I Stay.

I’m happy that Powell’s Books has decided to pick up my review (originally published in Rain Taxi: Review of Books, Spring 2010) for their “Review-a-Day” feature, especially because Zornoza’s book resonates emotionally and is marked by a unique voice, and thus deserves more attention.

My Review of Andrew Zornoza’s Where I Stay

My review of Andrew Zornoza’s Where I Stay appears in the Spring 2010 issue of Rain Taxi Review of Books. Check out the table of contents and buy an issue HERE. Here’s an excerpt:

Zornoza’s stories sprawl across landscapes, sift through details with a syntactical sieve, and revel in minutiae; superfluous exposition is replaced by evocative gestures, bland dialogue surrenders to resonant internal monologue. Consider Where I Stay a road map that carefully marks its scorched landscapes and anonymous small towns while also pointing out the desultory crew of squatters, border guards, prostitutes, drug dealers—transitory figures all—who live hardscrabble lives within them. As such, Zornoza is as much a novelist as he is a cartographer of loneliness, doubt, and fear, one that fearlessly delineates the stark realms of disappointment, unrequited love, and unfulfilled dreams.

My Review of Michael Kimball’s The Way the Family Got Away

Michael Kimball’s The Way the Family Got Away is a wonderful book, one I fear has fallen through the cracks. It came out about a decade ago, and I thought it was time to give it some more shine. Here’s an excerpt from my review:

As readers, we often hope that the lover will return, that the reward will come, that the treasure will be found, that there will be respite, that everything will come together in the end. The Way the Family Got Away offers no such easy answers, nor any evidence of the resilience of family to overcome any obstacle, recover from any tragedy. In this short but weighty novel, Kimball offers just what the title says: this is the way the family got away. From town to town, they get farther from where they were but no closer to restoring what they had lost. They are a nameless family, a family in name only, running from their pain only to find it seeping out of them, stinking like so much stagnant water. Though the boy says, “A family needs people in it to keep going or it stops being a family,” what makes a family a family is what these children are forced to figure out for themselves since their mother and father—reduced to husks—shoulder their own guilt, simply slogging ahead to get their children to some kind of safety.