Fiction

ND Stevenson

September 4, 2023

This (slightly short) week has been a long time coming. ND Stevenson is an astounding craftsman and creative artist and writer, and I’ve loved everything he has penned and willed into the world, even though I haven’t been able to read or watch all of their works.

The works I have imbibed have deeply affected me, hence this week.

If you aren’t familiar with his pieces, I hope this provides the impetus to do so. If you are? I hope you revisit them, as my revisiting cast a significantly different light.

Welcome to ND Stevenson week.

NOCTURNE (2023)

June 13, 2023

A fantastically penned take on Chicago from the prohibition era onwards from the perspective of a ballerina who ends up living in a dark fairy tale. It’s a work that washes over you, that takes you to another place, then rudely shoves you back to reality. The author — Alyssa Wees — has an amazing command for detailing physicality, diving deep into what is entailed in immersing oneself into this sort of craft and stage work.

To say more would lessen the impact, but I will say: it’s quite the phantasmagoria.

Little bird.

Nocturne can be purchased via Bookshop at:

https://bookshop.org/p/books/nocturne-alyssa-wees/18526270?ean=9780593357477

THE CIGARETTE GIRL (1999)

May 30, 2023

Goddamn, I love 90s chick-lit, even though I fucking hate the term chick-lit, but really: there is no better way of describing works like THE CIGARETTE GIRL. Carol Wolper’s novel is something singular, something special; it’s all about a woman trying to make her way as a action screenwriter in L.A. and she’s super horny.

Seriously. She can barely go five pages without mentioning a blowjob.

This is quintessential 90s feminism. The cover is a woman, smoke-stained, enveloped in bras from head-to-toe. It’s meant to be lethal, but is it? Really?

Nonetheless, it is a hell of a novel, one that doesn’t pull its punches. While it’s horny, it has a purpose and that is to be taken seriously and I love every bit of it.

BIG SWISS (2023)

May 13, 2023

Everyone knows the saying: “Never judge a book by its cover.”

Yeah, fuck that saying.

I’ll never refuse to read a book because of a terrible cover — I just bought a used Muriel Spark book that features an extremely off-putting cover, however I’m sure I’ll love it because it’s fucking Muriel Spark — but I will often buy a book solely because of a sharply designed, well-executed cover.

Jen Beagin’s BIG SWISS was one of those books. I mean, come on, scroll back up to the top of this post. I saw the cover, refrained from opening it, balked at reading the inscription in the slipcover and thought to myself: “I don’t know what this book is about, but I know I need it.”

I’ll note that I saw that one of my favorite media critics, Kayla Kumari Upadhyaya, wrote the best take on this novel — which I read well after reading the novel — please: read her words! Similarly, we both were won over on the cover alone.

BIG SWISS is a whirlwind of a novel, all focused on a capital L Literary take on queerness, therapy, interloping, trauma, power dynamics and middle-aged insecurities. It’s about a 45-year-old fuckup of a woman falling in lust with a far-younger married woman and the cavalcade that comes with that undertaking, all while also trepidatiously straddling the trauma that both women have endured. It moves at a breathless pace and features some absolutely filthy notes that I have no idea how will be adapted in the forthcoming TV series. (Apparently it was optioned by Jodie Comer (KILLING EVE) a good year before it was even published.) That said, I certainly appreciate that they exist in the actual text. It also hedges way too close to home for me, something I never predicted based on the cover.

I read this while visiting family and couldn’t stop blushing, but also couldn’t stop reading it. It’s an exhilarating swing of a novel, one that is naked about its approach.

(Oh, I forgot to mention: there are a lot of bees. Way too many bees, and I’m someone who was told at a young age: “Don’t let a bee sting you” and I later rode a horse that trampled over a hornet’s nest and they took it out on me and also proceeded to ride a lawnmower over a wasp’s nest and they also took it out on me so I should kind of be dead by now, and I should feel a bit more affected by this material, but oddly I am not. Also: yes, I realize honeybees are completely different from wasps and hornets, but their stinger threat is still similar.)

You can purchase BIG SWISS via bookshop.org here.

THE LUNAR HOUSEWIFE (2022)

July 19, 2022

Few novels can evoke the feeling of a Kurt Vonnegut work, of leaning on the crafting of an internal sci-fi novel, one that speaks just as much as the text it’s buried in, but Caroline Woods’s THE LUNAR HOUSEWIFE manages it.

Louise Leithouser inhabits 1953 New York City as a romance writer who pens articles for her boyfriend Joe’s upstart culture magazine DOWNTOWN under the name of ‘Alfred King’. She met Joe while waitressing an industry party, and passed herself off as someone with a higher station in life than in reality and, while she’s still insecure about her lower-class background, she’s slowly adjusting to being part of the upper-crust party, instead of being party to hand out hors d’oeuvres.

As Louise spends more time with Joe and Harry, the other half of DOWNTOWN magazine, her suspicions are raised as she overhears murmurs of fear and paranoia from the two of them. By the time she’s assigned an interview with Papa himself — Ernest Hemingway — she’s fraught with anxiety, which he stokes with off-the-cuff remarks about government surveillance and the like.

To process her suspicions, Louise writes her life into the star-crossed romance novel she’s always wanted to pen: THE LUNAR HOUSEWIFE, which focuses on a fuckup of a single American woman who defected to the Soviets in hopes of feeling useful again, who is then shot into space to be a ‘housewife’ to a single man while the two of them inhabit a pod on the moon.

Woods’s interweaving of second-halves, literary aspirations and influences, along with the singular thorough-line of cold war insecurities, sets the stage for Kilgore Trout-ish digressions, which are a fine second-side to the same coin; Woods leans on romantic fiction tropes instead of Trout’s action and wartime scenarios to spread her, and Louise’s, deeper messages.

While THE LUNAR HOUSEWIFE isn’t as intricately wound as one might like from a thriller, it trades the intrigue for ruminating on a more realistic portrayal of the end-result of confronting others with your paranoid instincts. This is a singular tale of a woman with artistic and autonomous aspirations, of a woman who, in her own words, learns that “the government lies to you. Men lie to you.” and is constantly endeavoring to keep herself open, while protecting herself.

https://www.penguinrandomhouse.com/books/688456/the-lunar-housewife-by-caroline-woods/

TRUCK (1971)

May 28, 2022

Katherine Dunn is best know for her exceptional misfit novel GEEK LOVE or, if you’re a fan of the sweet science, you may be familiar with her boxing observations such as ONE RING CIRCUS. However, well before she was writing about pugilists or carny folks, she penned two novels that focused on outsiders living in their head: ATTIC (1970) and, this recommendation, TRUCK (1971).

That both ATTIC and TRUCK were penned well over fifteen years prior to GEEK LOVE might explain why both of them are relatively unknown, even to fans of Dunn, but they’re no less gripping. However, as you might expect given the years that passed between them and GEEK LOVE, stylistically they are radically different, opting for more of a stream-of-consciousness tact that can occasionally feel like Dunn is being deliberately opaque, but this approach works to properly convey the protagonist’s mindset.

The premise of TRUCK is rather simple: Dutch (legally known as Jean Gillis) is an adolescent girl kicking against the confines of her small town, school and her well-meaning family, when she starts hanging out with high school senior Heydorf, a distant-but-philosophizing sort who plans to head to Los Angeles and commit small crimes. He encourages Dutch to meet him out there, and she embarks on a winding bus trip from Oregon to Los Angeles to leave her old life behind.

TRUCK excels at channeling Dutch’s scattershot, wide-eyed and trepidatious point-of-view. Her internal monologues often feel frantic, fragmented, scattered and difficult to follow, but they never feel anything less than authentic.

Dutch’s bus trip is especially striking. Dunn perfectly encapsulates the wide variety of emotions of a youth taking an extended, unsanctioned solo bus trip, ranging from fear of being found out as the bus pulls out of the station, to the wonder and relief of being on the road, to the awkward displeasure of dealing with nearby drunk companions and their life stories. Dutch’s running thoughts tonally shift throughout the twenty-pages, reflecting her ways of mentally coping as she drifts farther from home, coming to terms with the reality of shaping a new life in a strange land.

TRUCK is a remarkable portrait of a singular transitory time in a youth’s life, one of heightened intensity where aspiration, disillusion, anticipation, dissolution, spiritual questioning and fulfillment and even more, deluge one’s self, leaving one fundamentally changed and bracing for the world in front of them.

https://bookshop.org/books/truck-ccc6090b-769f-456c-806f-0d8373d59cf3/9780446391535