“Tracy Flick, portrayed so unforgettably by Reese Witherspoon in the movie, is not only back, she’s still in high school.” tracy flick can’t win
TRACY FLICK CAN’T WIN
Perrotta, Tom Scribner (272 pp.) $27.00 | June 7, 2022 978-1-5011-4406-6
The campaign to create a Hall of Fame at a suburban New Jersey high school lures a few skeletons out of their closets. Perrotta’s 10th novel, following the delightful Mrs. Fletcher (2017), revives the now-iconic protagonist of his third, Election (1998). Tracy Flick, portrayed so unforgettably by Reese Witherspoon in the movie, is not only back, she’s still in high school—now as Dr. Flick, assistant principal in another New Jersey town. Combining narrated chapters with short first-person “testimonies” by five of the characters, the plot unfolds with the you-are-there feel of a documentary, or mockumentary perhaps, though the generally arch tone is belied by a not-so-funny ending. As the story begins, Tracy is at the breakfast table with her 10-year-old daughter, reading the paper. The connection between the #MeToo headlines and her own past (she’s always thought of what happened with her sophomore English teacher as an “affair”) is perturbing. Her once-unshakeable belief in her own agency has been almost fatally challenged since then, shoving her off her track to the presidency of the United States (not “a crazy ambition,” according to her), now offering as booby prize the possibility of taking over for the principal when he retires at the end of the year. But in the meantime, she has to deal with this stupid Hall of Fame project, which pushes many of her buttons. Once again, characters you shouldn’t like at all become strangely sympathetic in Perrotta’s hands. Adulterers, egotists, bullies—well, we all make
mistakes. As much as forgiveness seems the explicit theme of the book, its evil twin, revenge, burbles menacingly beneath the surface, and the ending is a shocker. Nobody told this master of dark comedy there are things you can’t make jokes about. Watch him try.
LIONESS
Powell, Mark West Virginia Univ. Press (304 pp.) $21.99 paper | April 1, 2022 978-1-952271-44-1 An artist takes part in an act of ecoterrorism. There’s a small but memorable coterie of novels in which a troubled narrator attempts to figure out what drove a loved one to an act of political violence. Paul Auster’s Leviathan (1992) is one such book, and Powell’s latest offers a distinctly 21st-century spin on the theme. David, the writer at the heart of this novel, is struggling in the aftermath of a host of harrowing events. One is his young son’s death as a result of non-Hodgkin’s lymphoma; the other is his wife Mara’s involvement in the bombing of a water bottling facility, which may have killed her though her body was never found. As David looks back on the events that led up to these tragedies, he ponders Mara’s successful art career and his own work as a journalist and playwright. This also involves tracing their involvement in activism, which began in 2003 with “an affair built around private lust and public fury.” Another figure looms large in the book and in David and Mara’s relationship: an activist named Chris Bright who, David recalls, “lived with the discipline required of one existing outside the bounds of society.” David’s narrative moves backward and forward in time, circling different parts of his marriage to Mara, their respective artistic careers, the birth of their son, and the tragic end to it all. Despite this unconventional structure, Powell’s novel is never confusing; instead, it has a tragic force that propels it toward its destination. And while some of David’s own attempts to wrestle with the past and summon alternate explanations or endings for various events feel a bit overlong, the overall effect is emotionally wrenching. This politically charged novel is haunting (and haunted) in the best possible way.
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kirkus.com
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fiction
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1 april 2022
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y o u n g a d u lt
that Depo-Provera hasn’t been approved by the Food and Drug Administration, and she starts looking into whether the clinic’s patients are being coerced into care without full information. Civil’s concern for the autonomy of others is juxtaposed against her secret choice to have an illegal abortion, which she’s never fully worked through emotionally despite Ty’s attempts at conversation. When the clinic’s White director takes over the Williams girls’ care and makes an irreversible decision, Civil is thrust into a world of lawsuits and Senate hearings in an effort to seek justice. Author Perkins-Valdez deftly balances an older Civil, now an OB-GYN, acting as the first-person narrator with a young Civil experiencing the emotional weight of these events in real time. The older Civil’s narration, as she tells the story in 2016 to her own daughter, not only explains the trauma that Erica and India experienced, but also allows her to explain why even though she returned to medical school and dedicated herself to a career focused on the intersections of race, class, ability, and reproductive choice, after more than 40 years she still feels she must return to seek the Williamses’ forgiveness. Inspired by real events, this work of historical fiction admirably balances moral complexity with affecting characters. Vividly highlights the deep and lasting impact of injustice.
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