The scope of the novel is ambitious, but Hope has structured it wisely, and the storylines, nearly all taking place on a kibbutz in Israel, flow well into and alongside one another. The narratives both have a distinct sense of the past’s impingement, while also informing and affecting one another in the present.
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King of the Gypsies isn’t just a story collection; it is a poignant reminder that complexity and virtue are only ever borne out of hardship.
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In Becky Adnot-Haynes’s first collection of stories, The Year of Perfect Happiness, happiness is—not surprisingly—a state more imagined than experienced. Adnot-Haynes is a close observer of relationships and the human capacity for deception, especially self-deception, but happily, she’s no cynic.
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It is not enough to read these stories once, which is why it will take its place on my desk next to its predecessor. I look forward to savoring these little gems again and again, long into the future, one at a time, slowly and with deliberation.
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So, how does an author take this inherently rational activity and render a portrait of an unbalanced mind? That’s what Carmiel Banasky attempts—among other things—in her sparkling debut novel, The Suicide of Claire Bishop.
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Among the Wild Mulattos & Other Tales is set almost entirely in a region called the Mid-South, an in-between place appropriately filled with characters neither here nor there—not successful and not abject failures, not happy and not sad, not black and not white. Biracial men whose skin color serves as a kind of extreme social camouflage narrate most of the stories.
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In this tenacious novel of rural Welsh life, death inevitably accompanies life. Without this dire, strained coupling, the characters in The Dig might have all they need, but this not how this novel, or our world, function.
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In The Collector of Names Hicks once again demonstrates how we may confront death, loss, and non-being, yet still come through it without having averted our gaze.
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The characters in Bewildered may never fully understand or control who they ultimately are, but Panciera’s stories suggest that this is really not the goal. We place our stake in the ground not to say, This is who I am, but only This is me in relationship to others. Like the proverbial tree in the forest, if we fall, it doesn’t matter if we make a noise if there is no one there to hear us.
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Ever Yrs is an outward expression of one character’s introspection—the background of her very self as composed from the faces of those people who came before, especially her mother and father, her siblings, her husband, and even her somewhat estranged granddaughter.
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