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All Literary Fiction Coverage

BookPage Top Pick in Fiction, June 2017

The sophomore effort of a novelist whose debut made a splash is fraught with high expectations that all too often go unmet. Arundhati Roy presents a special case. It’s been two decades since she won the Booker Prize and wide acclaim for The God of Small Things. But in the intervening years her nonfiction and activism have drawn comparisons to Noam Chomsky and Vandana Shiva. Her new novel, The Ministry of Utmost Happiness, underscores this veer toward politics.

The novel is one of the most polemical in recent memory, and the characters act as animators of these polemics. Expressed with her usual musical precision, Roy’s anger has many targets. The rise of the Hindu nationalist Narendra Modi is one bête noire. Another is India’s continued possession of the Muslim-majority Kashmir region.

Roy’s first novel arrived weeks before India’s first nuclear test—which she condemned—and commentators saw the novel and the test as assertions of a rising India. Her second novel is an indictment of an India drunk on power, mistreating its poor and minorities. Ever the contrarian, Roy defends Kashmiris who seek self-determination. To Roy this is a matter not only of justice but also of survival—of India as a heterogeneous, secular state and of South Asian civilization. Experts consider Kashmir to be the most likely flashpoint for a nuclear war.

More a mosaic than a traditional, coherent story, The Ministry of Utmost Happiness sometimes resembles James Joyce’s Ulysses. Even in style it ramifies, and Roy’s characters are a jumble—similar to India’s welter of competing adversities, which V.S. Naipaul described as a “million mutinies.” The God of Small Things was a lively, virtuosic performance. In its successor, disgust is a recurring theme, and Indian media will likely pan it for anti-Indian propensities. But Roy’s love for the people of India is clear. She doesn’t hate India; what she hates is oppression.

 

This article was originally published in the June 2017 issue of BookPage. Download the entire issue for the Kindle or Nook.

The sophomore effort of a novelist whose debut made a splash is fraught with high expectations that all too often go unmet. Arundhati Roy presents a special case. It’s been two decades since she won the Booker Prize and wide acclaim for The God of Small Things. But in the intervening years her nonfiction and activism have drawn comparisons to Noam Chomsky and Vandana Shiva. Her new novel, The Ministry of Utmost Happiness, underscores this veer toward politics.

Peddling dangerous drugs to faltering countries has made many a developing nation great. The British sold opium to the Chinese at gunpoint. The American colonies got the British hooked on tobacco. And now Mexico floods the U.S. with the drug du jour. Philip Caputo’s novel Some Rise by Sin concerns one battle in the so-called “war on drugs,” down Mexico way.

Its main character could have walked out of Graham Greene’s The Power and the Glory. Riordan is an American missionary priest tending to the flock of a place called San Patricio. He likes his tipple, drives a Harley and reads Marcus Aurelius. He is also acrophobic in a country where drug cartels are liable to toss people off cliffs. Joining Riordan in San Patricio are two American lovers, Pamela and Lisette. Pamela is a bipolar artist on various medications; Lisette a doctor. Both seem even more out of place in Mexico than Riordan, who gets into trouble when a hired assassin admits her crime during confession. Riordan must consider breaking his vows of confidentiality. In another nod to Greene, he dwells on the “problem of evil,” viz. how a benevolent Creator allows malevolence.

Caputo does not bog down in theology. His novel is one of action, recalling nothing so much as “Breaking Bad.” But Some Rise by Sin does offer the occasional insight. Caputo points out that the surge in Mexican immigration to the U.S. resulted from NAFTA; the treaty flooded Mexico with cheap American produce, displacing Mexicans from their farms. And Caputo seems aware of the irony that Riordan, in the crosshairs of the drug war, is a fan of tequila and Ambien.

The overall lesson of the novel is a powerful one: Economics trumps morality in shaping the fate of nations.

Peddling dangerous drugs to faltering countries has made many a developing nation great. The British sold opium to the Chinese at gunpoint. The American colonies got the British hooked on tobacco. And now Mexico floods the U.S. with the drug du jour. Philip Caputo’s novel Some Rise by Sin concerns one battle in the so-called “war on drugs,” down Mexico way.

Joshua Ferris has published three brilliant novels, each focusing on the difficulty and dark comedy of our interactions with each other in the 21st century. In The Dinner Party, he has gathered his short stories from the past decade into a single volume.

Throughout these 11 stories, the range of settings and characters makes for a recurring sense of surprise: There is a New York City reimagined as a multiverse of sliding subway doors; the geriatric purgatory of Florida redeemed by fatal kindness; a Prague scarier than the one Kafka imagined; and a trailer parked somewhere in the Wal-Mart kingdom of the South, the site of a country song sung in reverse (you get your girl back, or your truck, or your life).

One of the best stories, “The Pilot” (first published in The New Yorker), diagnoses the decline and fall of a hopeful television writer in Los Angeles, who thinks he “needs a new pair of eyes” for the script of his pilot. What Leonard really needs is the sanity that eludes him and his entire generation of would-be auteurs. Readers may find themselves returning to the final three paragraphs over and over again, to revisit their beauty, tragedy and humor.

Reading a collection of short stories by an emerging master of the form is one of the great literary pleasures, especially when the writer treats them as a set of variations on a powerful theme. A steady ground bass pulses through all of Ferris’ narratives: the fatefulness of our lives, the uncanny and often hilarious (and even sometimes cruel, devastatingly so in the title story) ways in which our fragile hearts and massive egos determine our destinies. If this theme goes back to Sophocles, it also goes fast forward, right into our perplexed, all-too-modern souls.

Joshua Ferris has published three brilliant novels, each focusing on the difficulty and dark comedy of our interactions with each other in the 21st century. In The Dinner Party, he has gathered his short stories from the past decade into a single volume.

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Mary Gordon has been writing compelling books about faith, love and family for four decades. In There Your Heart Lies, her eighth novel, she examines the ways political idealism and religious fanaticism shape the choices of a privileged but naive Catholic woman in the mid-20th century.

At 19, Marian Taylor breaks with her wealthy New York family after the death of her beloved younger brother and sails to Spain to join the forces fighting Franco. Assisting in hospitals, she meets a Spanish doctor, gets pregnant, marries him and just as quickly loses him to sepsis. Forced to live with his parents in rural Spain and surrender her baby to her domineering mother-in-law, Marian becomes completely dependent on a family and a culture as rigid as the one she left behind. Only a friendship with Isabel, the village doctor, offers Marian sanctuary, as well as means to a possible escape back to the United States after a decade of misery.

But Marian has long kept this part of her life secret. Now in her 90s and living comfortably in Rhode Island, it is only when she is diagnosed with cancer that she begins to open up about these experiences with her live-in granddaughter, Amelia. The intensity of Marian’s experience prompts Amelia to make a journey to Spain to reconcile her grandmother’s past with her own uncertain prospects.

Gordon’s novels often feature personal dramas set against a backdrop of political or religious change, and here she touches on the violence of soldiers, clerics and citizens on both sides of the Spanish Civil War, as well as the kind of inflexible religious household in which Marian was raised. But There Your Heart Lies also depicts pleasure in the loving bonds between generations and in acts of generosity and selflessness between friends.

Marian is a classic Gordon heroine—sheltered but passionate and loyal to a fault. In contrast, Amelia’s search for self cannot compete with the drama and urgency of Marian’s time in Spain. This is a historically satisfying novel and, when Marian is center stage, an emotionally satisfying one as well.

 

ALSO IN BOOKPAGE: Read a Q&A with Mary Gordon for There Your Heart Lies.

This article was originally published in the May 2017 issue of BookPage. Download the entire issue for the Kindle or Nook.

Mary Gordon has been writing compelling books about faith, love and family for four decades. In There Your Heart Lies, her eighth novel, she examines the ways political idealism and religious fanaticism shape the choices of a privileged but naive Catholic woman in the mid-20th century.

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In Gail Honeyman’s captivating debut novel, we meet Eleanor Oliphant, a 30-year-old single woman working at a downtown design firm in Glasgow, Scotland. This might seem like the perfect setting for a saucy lifestyle, but Eleanor is less Carrie Bradshaw and more Sophia Petrillo of “The Golden Girls.”

From the outside, Eleanor’s regimented and lonely life—which includes sensible, black Velcro shoes and lots of vodka—might be construed as depressing and that of an outcast. But this is where Honeyman proves us wrong. For all her awkwardness and complete lack of friends, Eleanor is anything but sad or apologetic. Eleanor, in fact, is fine, and sometimes even shockingly hilarious in how she perceives the world.

A change is due, however, when two unexpected incidents force Eleanor to mingle with the rest of the population. First, a love interest, in the form of a musician named Johnnie Lomond, jump-starts her fashion and vanity sensibilities. Second, Raymond, the nerdy IT guy at work, pulls her into various social obligations, despite her best efforts to avoid them.

Hesitant at first, Eleanor eventually finds these interactions to be comforting and full of hope. But old demons are hard to shake, and Eleanor crashes hard into her old ways as she suddenly decides that joy and friendships are not things she deserves.

Honeyman includes some horrific details that make up Eleanor’s past, but somehow they never feel burdening or despairing. Ultimately, this is a feel-good story that will make readers laugh and cheer for Eleanor as she learns that the past doesn’t dictate the future, and that happiness can be hers. This is a must-read for those who love characters with quirks.

 

ALSO IN BOOKPAGE: Read a Q&A with Gail Honeyman, author of the 2017 breakout debut, Eleanor Oliphant Is Completely Fine.

This article was originally published in the May 2017 issue of BookPage. Download the entire issue for the Kindle or Nook.

In Gail Honeyman’s captivating debut novel, we meet Eleanor Oliphant, a 30-year-old single woman working at a downtown design firm in Glasgow, Scotland. This might seem like the perfect setting for a saucy lifestyle, but Eleanor is less Carrie Bradshaw and more Sophia Petrillo of…

You don’t have to be Sherlock Holmes to deduce the inspiration behind the title of Rakesh Satyal’s second novel, No One Can Pronounce My Name. Having grown up with a name that can be a tongue twister for white Americans, Satyal understands the bewilderment and frustration of his Indian-American characters all too well. Drawing on his own experiences in Middle America, Satyal follows up his award-winning debut, Blue Boy, with an extraordinarily compassionate work of fiction.

Taking readers into the suburbs of Ohio, Satyal chooses an otherwise unremarkable setting to tell a story that is anything but. He introduces us to Harit, a middle-aged bachelor who ineptly works in a department store by day and dresses up in his deceased sister’s sari at night. We also meet Ranjana, a stifled mother who secretly reads romantic thrillers and dreams of publishing her own stories while worrying her husband is having an affair. Finally, there is Prashant, a Princeton student who is struggling with unrequited longing for an Indian classmate, not to mention his desire to switch his major from chemistry to English literature, but he fears disappointing his parents.

At first, these three strangers’ stories are separate, united only by the common thread of their mutual isolation. Geography, race and culture alienate them from the people around them, but even worse, it has estranged them from their own selves. However, their paths gradually intersect, resulting in relationships that force them to throw open the shutters on their sheltered lives and hearts.

Ambitious in scope, No One Can Pronounce My Name dares to tackle life’s biggest questions, irrespective of nationality. Through a successful blend of pathos and humor, Satyal bravely explores themes of intimacy, identity and sexuality, asking his characters—and his readers—to closely examine the inalienable qualities that make us all human. With emotionally charged prose, he masterfully depicts the modern-day immigrant experience in a manner that is both deeply personal and universally relatable, transforming the foreign into the familiar.

 

ALSO IN BOOKPAGE: Read a Q&A with Rakesh Satyal for No One Can Pronounce My Name.

This article was originally published in the May 2017 issue of BookPage. Download the entire issue for the Kindle or Nook.

Drawing on his own experiences in Middle America, Rakesh Satyal follows up his award-winning debut, Blue Boy, with an extraordinarily compassionate work of fiction.

Neanderthal kills bison. Neanderthal eats bison. Bear eats bison carcass. Birds clean carcass. Worms spread carcass remains. Rain washes remains into river. Algae grows, fed by decomposing bison. River fish eats algae. All life is connected.

Girl knows this cycle well. One of the last Neanderthals, Girl understands that every step of a hunt affects not only her family but also the animals that surround them. They, too, are animals, and they have respect for their role in the cycle.

In the present day, archaeologist Rosamund Gale believes Neanderthals recognized their interconnectivity, but the scientific world isn’t buying into her ideas. It’s a thrilling moment, then, when Rose uncovers Neanderthal and human skeletons lying side by side. They’re positioned as though the two died staring into one another’s eyes.

Modern humans cling to the idea that Neanderthals were a lesser species, and that’s why Homo sapiens prevailed. Rose is convinced her discovery not only places the two in the same time period, but also suggests Neanderthals even interacted with humans.

In The Last Neanderthal, Claire Cameron expertly intertwines Girl’s and Rose’s stories. Though they are separated by 40,000 years and exist in almost wholly separate worlds, the women are bonded. They face their bodies’ sexual maturation and capability to create life. They’re challenged by the expectations and limitations of being a woman in their respective times. In turn, Cameron challenges the reader to consider his or her own existence. This is an engaging tale that celebrates the search for life’s meaning and its quotidian nature.

 

This article was originally published in the May 2017 issue of BookPage. Download the entire issue for the Kindle or Nook.

In The Last Neanderthal, Claire Cameron expertly intertwines Girl’s and Rose’s stories. Though they are separated by 40,000 years and exist in almost wholly separate worlds, the women are bonded. They face their bodies’ sexual maturation and capability to create life. They’re challenged by the expectations and limitations of being a woman in their respective times. In turn, Cameron challenges the reader to consider his or her own existence. This is an engaging tale that celebrates the search for life’s meaning and its quotidian nature.

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Fredrik Backman’s heralded debut novel, A Man Called Ove, was a surprise bestseller that rose steadily in worldwide sales after its initial rejection by all but one publisher. Beartown is Backman’s fourth novel, the tale of the eponymous village on the edge of a forest—probably in Backman’s native Sweden—where ice hockey is the favored sport. Actually, it’s the only sport. Hockey is what keeps this small, declining community alive, especially this year, when the junior team is headed for the national semifinals.

The team revolves around Kevin, its 17-year-old star who got his first hockey stick when he was 3. He’s surrounded by a loyal band of teammates, each of whom would do anything for their captain. Backman deftly portrays how all of Beartown is invested in the future of the hockey club, and this loyalty is reflected in the lives of the general manager and the club’s coaches.

Peter is the GM, an ex-professional player who returned to Beartown with his wife, Kira, and their two children after a brief NHL career in Canada. Sune, his childhood mentor and now the A-team coach, is about to be fired and replaced by the younger, highly competitive coach of the illustrious junior team—and as the novel opens, the club’s board is asking Peter to break the news to his friend.

This is the first hint of a schism, many years in the making, between the townsfolk: those who believe hockey’s purpose is to teach its players lifelong values, and those who view the club as the key to the town’s very survival.

This quiet, deceptively simple story suddenly implodes when Peter’s 15-year-old daughter, Maya, is raped. She said/he said arguments cause rifts between young and old, newcomers and old-timers—even between members of the same family. Backman traces the impact of this one violent act, not just on Maya and her family, but on all the inhabitants of Beartown­, and the lingering effects often ignored in the all-too-similar accounts of sexual violence we read in the news almost daily, wherever we live.

 

This article was originally published in the May 2017 issue of BookPage. Download the entire issue for the Kindle or Nook.

Fredrik Backman’s heralded debut novel, A Man Called Ove, was a surprise bestseller that rose steadily in worldwide sales after its initial rejection by all but one publisher. Beartown is Backman’s fourth novel, the tale of the eponymous village on the edge of a forest—probably in Backman’s native Sweden—where ice hockey is the favored sport. Actually, it’s the only sport. Hockey is what keeps this small, declining community alive, especially this year, when the junior team is headed for the national semifinals.

Review by

New York City’s renaissance—safer streets, graffiti-free subways, suddenly trendy neighborhoods—has brought with it a nostalgia for grittier times. A wide range of books from Garth Risk Hallberg’s City on Fire to Patti Smith’s Just Kids have explored the drama and poetry of New York’s so-called bad old days. John Freeman Gill’s first novel, The Gargoyle Hunters fits neatly into this subgenre. It unfolds in Manhattan during the mid-1970s when crime was rampant and New York City teetered on the edge of bankruptcy.

The book revolves around 13-year-old Griffin Watts, who lives with his mother, sister and various boarders in a dilapidated Manhattan brownstone. That is, when he’s not roaming the city at night with his father, who “liberates”—steals—gargoyles and other architectural ornaments from the city’s aging but beautiful old buildings. Griffin wants so desperately to spend time with his dad that he can’t see the looming danger, both emotional and physical. Scaling a building to swipe another treasure for his dad, Griffin says, “I wasn’t sure whether I felt like a mountain climber or a marionette.”

At a deeper level, Gill—who knows the city intimately and is even a real estate columnist and editor—is wrestling with the nature of change. Cities like New York evolve (for better or worse) the same way people do, and the real danger comes when we ignore that reality. Fans of Richard Russo will appreciate the complex dynamic between needy, young Griffin and his father, whose breezy affability masks profound, even abusive, flaws.

Some of Gill’s dialogue strains to be humorous, and readers outside of New York will have to decide how interested they are in some of Gotham’s long-lost landmarks and sports stars. Overall, though, The Gargoyle Hunters is an absorbing family tale and a wise meditation on aging.

New York City’s renaissance—safer streets, graffiti-free subways, suddenly trendy neighborhoods—has brought with it a nostalgia for grittier times. A wide range of books from Garth Risk Hallberg’s City on Fire to Patti Smith’s Just Kids have explored the drama and poetry of New York’s so-called bad old days. John Freeman Gill’s first novel, The Gargoyle Hunters fits neatly into this subgenre. It unfolds in Manhattan during the mid-1970s when crime was rampant and New York City teetered on the edge of bankruptcy.

American involvement in Cambodia during the Vietnam War was often called a “sideshow.” Bombing of the countryside displaced the population and destabilized the government, which paved the way for the rise of the Khmer Rouge. Music of the Ghosts by survivor Vaddey Ratner only touches on American culpability, but the grueling, heart-wrenching novel indicts any treatment of Cambodia as mere footnote.

The novel concerns a woman named Teera, who, like the author, lost her father, escaped Cambodia to America and attended Cornell. Teera returns to Cambodia to meet a man known as the Old Musician, who claims to have known her father. The Old Musician—once a pupil of Pol Pot, who was a teacher before becoming leader of the Khmer Rouge—ended up in one of the regime’s prisons, where officials tried to extract confessions to confirm their paranoia. There, the Old Musician often shared a cell with Teera’s father.

The novel thus splits in two. On the one hand are Teera’s impressions of her unknown native country. On the other are the Old Musician’s memories of life under “the Organization.”

Through Teera, Ratner seems keen to show present-day Cambodia as recovered from the war, if nothing else to offer contrast to the book’s darker chapters. Teera admits her time in America has made her a reflexive optimist, but the war keeps dimming her rose-colored glasses. The landscape is scarred by bombs. Social relations remain tense. In an unforgettable passage, Ratner describes a woman whose job is to remove mines, but she later replaces them, as otherwise she’d be out of work. Thus the never-ending parade of amputees perpetuates on Cambodia’s streets.

The novel isn’t unending desolation. On the contrary, it is often very sweet, told with a careful lyricism that sometimes gets the better of the plot. Occasionally calling to mind Things Fall Apart, another novel about collapsed societies, Music of the Ghosts evokes a world with ghosts aplenty, but less apt by Ratner’s hand to be dismissed as a sideshow.

 

This article was originally published in the April 2017 issue of BookPage. Download the entire issue for the Kindle or Nook.

American involvement in Cambodia during the Vietnam War was often called a “sideshow.” Bombing of the countryside displaced the population and destabilized the government, which paved the way for the rise of the Khmer Rouge. Music of the Ghosts by survivor Vaddey Ratner only touches on American culpability, but the grueling, heart-wrenching novel indicts any treatment of Cambodia as mere footnote.

Review by

In Sara Baume’s second novel, A Line Made by Walking, we meet Frankie on the cusp of turning 26, seemingly posed for a conventional coming-of-age story—until she’s unable to swallow, hear or pull herself up off the old carpet.

Frankie, determined if nothing else, hopes to regain her footing and find some artistic inspiration by moving into her grandma’s vacant house in the Irish countryside. Solitary among the green pastures, roaming cows and plenty of dead wild things, Frankie reflects on her life and takes stock of exactly why happiness has eluded her so far.

Throughout her reverie, readers meet Frankie at different ages and phases of life, always surrounded by the loving company of family, friends and a creative community. And in each scenario, she is hopelessly incapable of dwelling in that comfort and that sense of belonging. Artists often hold a divergent view of the same world we share, and Baume takes full advantage of this ethos, using Frankie’s reflections and wavering mental health as a way to keep us guessing whether her perpetual suffering and experiments are a form of art in itself.

There is no denying that A Line Made by Walking is full of sadness and pain, but with captivating writing, a vivid rural landscape and frequent references to famous works of art, Baume creates a layered experience that leaves the reader nurtured and restored. For artists and lovers of art, this will be an extra-special treat.

 

RELATED CONTENT: Read a Q&A with Sara Baume for A Line Made by Walking.

This article was originally published in the April 2017 issue of BookPage. Download the entire issue for the Kindle or Nook.

In Sara Baume’s second novel, A Line Made by Walking, we meet Frankie on the cusp of turning 26, seemingly posed for a conventional coming-of-age story—until she’s unable to swallow, hear or pull herself up off the old carpet.

Review by

Bernhard Schlink is best known for his internationally successful novel The Reader (1997), and he returns to the themes of passion and loss in The Woman on the Stairs, about a German lawyer who stumbles onto a nude painting of a woman for whom he once risked his career and who then mysteriously disappeared from his life.

When the nameless protagonist is in Sydney working on a case, he comes across a familiar painting in a local museum. Decades earlier, as a young lawyer in Frankfurt, he became entangled in an affair involving an artist, a woman named Irene and her art collector husband, who commissioned the aforementioned painting of the unfaithful Irene. Hired to mediate a series of conflicts involving damage and restoration of the canvas, the lawyer fell in love with Irene, who in turn convinced him to help her steal the painting, promising she would run away with him if they were successful. The day he helped her was the last day he saw her.

The lawyer is able to locate Irene with the help of a local detective. Living in a remote area outside of Sydney, Irene is now leading a quiet life, assisting her elderly neighbors and growing her own food. It also becomes apparent that she is quite ill. Irene’s life of passion forces the lawyer to come to terms with his own losses and to understand that many of his choices were merely reactions to the coldness that he experienced as a child.

Schlink, a professor of law in both Germany and the United States, writes with lawyerly precision, and his protagonist’s midlife search for meaning is thought-provoking and surprisingly tender, though some of the characters never fully come to life. The Woman on the Stairs will appeal to readers as an exploration of the moral ambiguities of blame and guilt and the ethical issues of ownership.

 

This article was originally published in the April 2017 issue of BookPage. Download the entire issue for the Kindle or Nook.

Bernhard Schlink is best known for his internationally successful novel The Reader (1997), and he returns to the themes of passion and loss in The Woman on the Stairs, about a German lawyer who stumbles onto a nude painting of a woman for whom he once risked his career and who then mysteriously disappeared from his life.

Review by

A lawyer by profession, Phillip Lewis has spent his life and career in North Carolina, and a keen sense of familiarity is the first thing the reader notices as his debut novel, The Barrowfields, opens in the tiny Appalachian mountain town of Old Buckram.

The year is 1939 when Henry Aster is born in this inconsequential place, and he realizes it as such as soon as he teaches himself to read at a very young age. All the books in Old Buckram aren’t enough to contain Henry’s curiosity, and he awaits the day he can leave and make himself into a great writer.

Henry does leave and Henry does write, but his vow never to return home is broken when his mother takes ill. With a pregnant wife and a law degree, Henry moves back to Old Buckram and buys the hauntingly big house on the hill where the irony of his life, his law career and most importantly his unfinished book slowly start to consume him.

Growing up in the meantime is Henry’s son, also called Henry. In awe of his father and his biggest fan, Henry grows up loving all the same things—classical music, piano, books. And just like his father, he too is unable to stray far from the demons he wants to escape.

The Barrowfields is part coming-of-age story, part homecoming and part exploration of unfulfilled dreams. The setting seems both nostalgically old-fashioned and richly immediate. Lewis writes with warmth, depth and honesty about the regrets of fathers and sons and the inexorable pull of home.

A lawyer by profession, Phillip Lewis has spent his life and career in North Carolina, and a keen sense of familiarity is the first thing the reader notices as his debut novel, The Barrowfields, opens in the tiny Appalachian mountain town of Old Buckram.

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