Likely the most silly-fun you can have with star-crossed lovers fighting the absurdity of an unjust world.
A young couple in the near future dares to lift the curtain on their hierarchical society, which segregates its population based on the colors they can—and can’t—see.
Though it’s been 15 years since Fforde published Shades of Grey (2009), this long-awaited sequel picks up right where things left off. Eddie Russett, a high-seeing Red, is still new to the fringe town of East Carmine, and his infatuation with daredevil Jane Grey, recently dubbed Jane Brunswick for her ability to see a small percentage of Green, is expanding his horizons in more ways than one. While society sees their fraternization as illegal—“It was one of the crueller Rules….If you were on the opposite side of the colour wheel, you’d be compelled to be on nodding terms for the rest of your lives”—Jane has encouraged Eddie not to care. And while it’s ingrained in Eddie to believe that if you question the Colourtocracy, you could die for it, he hasn’t caught the Mildew—the “disease” that suspiciously takes people when they are no longer useful to society—just yet. If he and Jane can bend one rule and survive, what else is not as black-and-white as it seems? If all this has you thinking of West Side Story and its inspiration, Romeo and Juliet, you’re bang on. Puns and references to the world as we know it are numerous, direct, and often absurdly funny, à la Terry Pratchett’s Discworld series. Fforde expertly interlaces the most serious existential discussions with humor, favoring fun over drama—a most notable, laugh-out-loud example being the consultation of the Parker Brothers’ RISK Map to explore the possibility of there being a Somewhere Else. While this is generally a refreshing spin on the life-after-apocalypse genre, it hasn’t escaped a mild case of middle-book syndrome. The hyperfixation on dismantling the corrupt Colourtocracy makes the plot feel more formulaic as it builds toward the big revelation, undoubtedly setting up the final act.
Likely the most silly-fun you can have with star-crossed lovers fighting the absurdity of an unjust world.Pub Date: May 7, 2024
ISBN: 9781641296281
Page Count: 456
Publisher: Soho
Review Posted Online: March 9, 2024
Kirkus Reviews Issue: April 1, 2024
An angry, powerful book seething with love and outrage for a community too often stereotyped or ignored.
Inspired by David Copperfield, Kingsolver crafts a 21st-century coming-of-age story set in America’s hard-pressed rural South.
It’s not necessary to have read Dickens’ famous novel to appreciate Kingsolver’s absorbing tale, but those who have will savor the tough-minded changes she rings on his Victorian sentimentality while affirming his stinging critique of a heartless society. Our soon-to-be orphaned narrator’s mother is a substance-abusing teenage single mom who checks out via OD on his 11th birthday, and Demon’s cynical, wised-up voice is light-years removed from David Copperfield’s earnest tone. Yet readers also see the yearning for love and wells of compassion hidden beneath his self-protective exterior. Like pretty much everyone else in Lee County, Virginia, hollowed out economically by the coal and tobacco industries, he sees himself as someone with no prospects and little worth. One of Kingsolver’s major themes, hit a little too insistently, is the contempt felt by participants in the modern capitalist economy for those rooted in older ways of life. More nuanced and emotionally engaging is Demon’s fierce attachment to his home ground, a place where he is known and supported, tested to the breaking point as the opiate epidemic engulfs it. Kingsolver’s ferocious indictment of the pharmaceutical industry, angrily stated by a local girl who has become a nurse, is in the best Dickensian tradition, and Demon gives a harrowing account of his descent into addiction with his beloved Dori (as naïve as Dickens’ Dora in her own screwed-up way). Does knowledge offer a way out of this sinkhole? A committed teacher tries to enlighten Demon’s seventh grade class about how the resource-rich countryside was pillaged and abandoned, but Kingsolver doesn’t air-brush his students’ dismissal of this history or the prejudice encountered by this African American outsider and his White wife. She is an art teacher who guides Demon toward self-expression, just as his friend Tommy provokes his dawning understanding of how their world has been shaped by outside forces and what he might be able to do about it.
An angry, powerful book seething with love and outrage for a community too often stereotyped or ignored.Pub Date: Oct. 18, 2022
ISBN: 978-0-06-325-1922
Page Count: 560
Publisher: Harper/HarperCollins
Review Posted Online: July 13, 2022
Kirkus Reviews Issue: Aug. 1, 2022
SEEN & HEARD
PERSPECTIVES
SEEN & HEARD
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.
A falsely accused Black man goes into hiding in this masterful novella by Wright (1908-1960), finally published in full.
Written in 1941 and '42, between Wright’s classics Native Son and Black Boy, this short novel concerns Fred Daniels, a modest laborer who’s arrested by police officers and bullied into signing a false confession that he killed the residents of a house near where he was working. In a brief unsupervised moment, he escapes through a manhole and goes into hiding in a sewer. A series of allegorical, surrealistic set pieces ensues as Fred explores the nether reaches of a church, a real estate firm, and a jewelry store. Each stop is an opportunity for Wright to explore themes of hope, greed, and exploitation; the real estate firm, Wright notes, “collected hundreds of thousands of dollars in rent from poor colored folks.” But Fred’s deepening existential crisis and growing distance from society keep the scenes from feeling like potted commentaries. As he wallpapers his underground warren with cash, mocking and invalidating the currency, he registers a surrealistic but engrossing protest against divisive social norms. The novel, rejected by Wright’s publisher, has only appeared as a substantially truncated short story until now, without the opening setup and with a different ending. Wright's take on racial injustice seems to have unsettled his publisher: A note reveals that an editor found reading about Fred’s treatment by the police “unbearable.” That may explain why Wright, in an essay included here, says its focus on race is “rather muted,” emphasizing broader existential themes. Regardless, as an afterword by Wright’s grandson Malcolm attests, the story now serves as an allegory both of Wright (he moved to France, an “exile beyond the reach of Jim Crow and American bigotry”) and American life. Today, it resonates deeply as a story about race and the struggle to envision a different, better world.
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.Pub Date: April 20, 2021
ISBN: 978-1-59853-676-8
Page Count: 240
Publisher: Library of America
Review Posted Online: March 16, 2021
Kirkus Reviews Issue: April 1, 2021
BOOK TO SCREEN
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