“Short stories brimming with societal nuance and human complexity offer a penetrating overview of urban Black America.” the last suspicious holdout
THE LAST SUSPICIOUS HOLDOUT
of the novel as a form. Again and again, she stretches those possibilities until they grow as taut as a wire. After Mira’s father dies, his consciousness—and hers, too—ends up in a leaf. Best not to ask about the mechanics of this move. In the leaf, they “talk” to one another about art and death and time, in long paragraphs that don’t differentiate between speakers. “Don’t think that in death you go far from the earth,” someone says; “you remain down here with everything—the part of you that loved, which is the most important part.” But at the same time that she is contending with large, abstract questions, Heti is a master of the tiniest, most granular detail. Her prose can be both sweeping and particular. On one page, Mira and her father think of time as a billion-year expanse; on another, she and Annie buy a box of chocolates. The book is as exquisitely crafted as those sweets must have been. Heti’s latest is that rarest of novels—as alien as a moon rock and every bit as wondrous.
Hubbard, Ladee Amistad/HarperCollins (224 pp.) $24.99 | March 8, 2022 978-0-06-297909-4 Short stories brimming with societal nuance and human complexity offer a penetrating overview of urban Black America near the turn of the 21st century. In her previous novels, The Talented Ribkins (2017) and The Rib King (2021), Hubbard showed narrative ingenuity, tough-minded intelligence, and a refined sense of character in her depictions of African Americans swept up by history. These virtues—and, it turns out, many others—are on display in this collection of 13 stories set in and around an unnamed Southern metropolis resembling Hubbard’s native New Orleans and arranged in chronological order from 1992 to 2007. “Trash,” for example, is set in 2005, the same year as Hurricane Katrina, and, in dealing with characters coping with the storm’s grisly aftermath, mentions many familiar landmarks and neighborhoods. The title character of “Henry” is a bartender who, in 1993, is struggling to keep his business afloat while helping to defend his activist brother, Leon, who was convicted of murder eight years earlier and has since become a cause célèbre in the Black community. A story set the following year, “Bitch: An Etymology of Family Values,” introduces Millie Jones, who makes anonymous phone calls alerting a Black councilman’s wife to her husband’s extramarital dalliances. Millie turns up again in the title story, set in 2001, this time working for the Leon Moore Center for Creative Unity, which has been implicated in the vandalism of a hamburger franchise in the neighborhood. By the way, that story is the collection’s centerpiece, not just for its novellalike length, but for the astute social observations, textured characterizations, and deep affection for its landscape that are emblematic of Hubbard’s writing. Nothing seems lost or shortchanged in presenting this panorama of Black lives, whether disparities in social class, creeping gentrification, or the arduous, at times heroic efforts of even the poorest community residents to retain grace, decorum, and some autonomy over their surroundings. Hubbard’s eyes and ears are in superb working order as she tells this besieged community’s life story.
THE LAST CONFESSIONS OF SYLVIA P.
Kravetz, Lee Harper/HarperCollins (272 pp.) $25.99 | March 8, 2022 978-0-06-313999-2
Nonfiction author Kravetz’s debut novel is a compelling literary mystery that explores the creation of poet Sylvia Plath’s only novel. 18
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15 january 2022
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fiction
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kirkus.com
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