The Gravity of Us by Phil Stamper (bloomsbury 2020)
Reviewed by Madeleine Nowak
If I really wanted to do Phil Stamper’s debut YA novel The Gravity of Us justice, I’d pull out my phone and video myself live walking through the streets of New York City while I shared my thoughts with you. To review the book this way would be the best homage to Cal, the wonderful narrator Stamper has crafted, a social-media-savvy, budding seventeen year-old reporter from Brooklyn who suddenly finds himself transplanted to Clear Lake, Texas when his dad is picked as an astronaut candidate for NASA’s first mission to Mars. In Clear Lake, Cal is pulled away from everything he loves from Brooklyn, but unexpectedly brought closer to Leon, the son of another astronaut and the perfect love match for Cal.
Evidence of V: A Novel in Fragments, Facts, and Fictions by Sheila O’Connor (Rose Metal Press, 2019)
Reviewed by Rebecca Valley
We are not taught to think of women in prison. The cells which contain women, we are told, are physical, social – women are victims, and men their assailants. Like so much gendered terminology, we have prisons, and then we have women’s prisons. As if an afterthought, as if a near impossibility that a woman might have the ability, the audacity to act against the norm. Have we not, we ponder, created enough of a cage for women out of invisible walls – out of the nuances of our socially constructed expectations, exploitations? And what to do with a girl who is not considerate of the walls we have put up for her? What to do with a girl who wants something else?
The Choice: Embrace the Possible by Dr. Edith Eva Eger (Scribner 2017)
Reviewed by Patricia Steckler
I’d sworn off Holocaust stories permanently. Or so I thought. Twenty-five years ago, Schindler’s List, Stephen Spielberg’s film, nearly did me in. Soon thereafter, I burst into tears in the lobby of the Holocaust Museum in Washington, DC, before even picking up admission tickets. Thousands of pairs of shoes taken from murdered prisoners at the Majdanek concentration camp, displayed in the museum’s lobby, felt crushing.
in the dream house by carmen maria machado (graywolf, 2019)
Reviewed by Rebecca Valley
I know many writers obsessed with houses. Houses contain us; we fill them up with ourselves. We share them with our families, lovers, histories, ghosts. In poetry, stanza is another word for room – this makes each poem a house, a self-contained world of its own.
Exit West by Mohsin Hamid (Riverhead 2017)
Exit West by Mohsin Hamid is about magic portals. It’s about immigration. It’s about distance. But mostly, it’s about love. Continue reading
Landscape of The Wait by Jami Macarty (Finishing Line Press, 2017)
Derived from the ancient word for “watching,” waiting seems especially relegated to the human animal. Waiting implies the existence of a thought process as well as biology–a stasis, a trance. The state implies a wish, as a reaction to time and action. It makes sense that the literature of waiting has ancient origins, and that the sub-genre thrives during war. The world’s most important epics are also part of the body of the literature of waiting. The Odyssey and Penelope’s wait, and The Aeneid and Dido’s wait are two of our most essential examples. Naturally, the literature of waiting thrived during World War II, when Yehuda Amichai wrote the marvelous poem I heard him read in Hebrew and in English at the Hillel Center at UCLA in the 1990’s, where he said, in essence, that the war was not worth the poems made by the light of warfare. It begins
Out of three or four in a room,
One is always standing at the window.
Forced to see the injustice among the thorns,
The fires on the hills.
The Emissary by Yoko Tawada, trans. by Margaret Mitsutani (New Directions 2018)
It had been my intention all along to review Yoko Tawada’s most recently translated novel The Emissary this week, and the announcement that Tawada was the recipient of the first award for translated literature since the National Book Award became the National Book Award in the early 1980s only solidified my thrill at getting the chance to write about this novel. Though all the books selected this year are exciting – I am particularly interested in finally reading Sigrid Nunez’s The Friend – I am particularly happy to see this nod to translated books in American literature. Compared to most countries America’s publication of translated works is nominal, and I respect and appreciate the National Book Award in their effort to encourage publishers to look internationally for new voices. Continue reading
This summer, I took a bit of a break from Drizzle for many reasons. I had a sudden illness and death in my family that shook everyone I loved. I moved my partner across the country to join me in Massachusetts. It was a good break, and a hard one. It was needed. Perhaps it’s the break or it’s just the drizzly fall weather that has me reflecting on this site and its origins, but now that Drizzle has returned from hiatus in full autumnal swing I wanted to take a moment to think and write about why reviewing books is important, and the role it’s played in my life and that it continues to play in the literary world. Continue reading
Plastic: An Autobiography by Allison Cobb (Essay Press, 2015)
Allison Cobb isn’t interested in delivering epiphanies to readers. She’s interested in literature that opens a mystery and a sense of wonder, and offers a container for others to experience that opening. Plastic: An Autobiography, embodies that mysterious and wonderful opening. It was published as a free digital download by Essay Press in September 2015. The book is a part of their “EP Series,” (as in extended play) where authors are given extended space and time to develop book-length projects. At the time of publication, Plastic: An Autobiography comprised of half the material Allison Cobb had written at that point. Continue reading