Rebecca Kauffman’s debut novel, Another Place You’ve Never Been, begins with a short prologue, a story unrelated to the main cast of characters. In this haunting tale shared among the Ojibwa tribe of North Dakota, two brothers go for a swim in a murky pond. The younger boy is bitten by poisonous water moccasin snakes and later dies. In tribal lore, he becomes a spirit with transformative and healing powers; this story is repeated from neighbor to neighbor, from parent to child.
Then the children will retell the story to one another. They feel something different in each retelling. They are learning that sometimes it takes a thousand voices to tell one story.
A difficult question rests at the heart of Loner, Teddy Wayne’s third novel: under what conditions does a sociopath’s true self emerge? Wayne’s sociopath character, Yale-bound David Federman, has a milquetoast background: middle class, lawyer parents, youngest of three children, low on the social totem pole in high school. But the reader reels in disgust as he begins stalking a fellow classmate. As David’s obsessive quest erupts into violence, more difficult questions arise.
The Art of Waiting by Belle Boggs is an inquiry into fertility and motherhood. After years of trying to conceive without success, Boggs makes the difficult and expensive decision to utilize ART—assisted reproductive technology. As she takes this drastic step toward biological motherhood, she explores every option and decision.
“The life an infertile person seeks comes to her not by accident and not by fate but by hard-fought choices.” What begins as a first-person narrative shifts into a wider sociological view as Boggs struggles to make sense of her situation. “Baby fever is painful and all encompassing,” she writes. Boggs draws parallels between her fertility experience and the outside world. Her research is evident in passages from academic studies and online chat sites. Gorilla and marmoset birthing habits give way to a cultural exploration of motherhood. Boggs’s straightforward language and empathetic style create a steady voice, and she is unafraid of posing difficult questions when she considers the multitude of situations women face: Continue reading
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At first glance, Taxi seems like nothing more than a lighthearted, sometimes darkly funny mockumentary about daily life in Tehran. Director Jafar Panahi drives a taxi around the city and picks up friends, family members, and total strangers, filming their interactions on a mounted dashcam. But in the context of Panahi’s troubled past, the film takes on a larger significance.
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I’m not going to spoil anything important about the fantastic Adam Wingard film The Guest. But if you want the optimum first viewing experience, stop reading right here and go watch it right now. Are you back? Are you sitting comfortably? Then I’ll begin.
The Peterson family is mourning the recent death of their oldest son, Caleb, a soldier who was killed in combat. One day a stranger named David (Dan Stevens) knocks on their door, claiming to have served in the same unit as Caleb. He has nowhere else to go so they invite him to stay the night. Gradually David gets to know all four family members and manages to charm them while raising more and more questions, with us and with them, about who he is and where he came from. The Petersons’ 20-year-old daughter Anna (Maika Monroe) is the first to realize David is not who he says he is, but by then he has his hooks into every member of the family, including her.
Theodore Wheeler’s debut collection of fiction Bad Faith is a lesson in perfidy, deception, and duplicity—a contemplative exploration of the vagaries of the double-minded human heart. There are eight stories in the collection. Or are there fifteen? Alternating with eight fuller, more traditionally rendered stories are seven vignettes, whose narrative purpose becomes clear in the final, culminating story, “Bad Faith.”
In Bad Faith, Wheeler gives us drifters, truckers, handymen, squatters, runaways, and farmers. They are from Lincoln or Omaha, the big cities in Nebraska, or they live in the shadows of those looming cities. They don’t work the jobs they say they do; they don’t come from where they say they do. They are not entirely sure who they are. They hop freight trains; they drift; they join the army; they murder; they kill. Presenting themselves as better people than they really are, they also end up deceiving themselves into believing their own hype. No one is as simple as they seem and everyone wants more than they can have.