by Collin Mitchell In her memoir Grand, writer and comedian Sara Schaefer reflects on her childhood and career by way of a river trip through the Grand Canyon that she took in celebration of her fortieth birthday. “The Canyon will take you apart and put you back together again,” she writes, reflecting on the promise a “bucket-listy” adventure like white…
by Collin Mitchell In A Better Man: A (Mostly Serious) Letter to My Son, actor and comedian Michael Ian Black explores the concept of toxic masculinity and what it’s doing to American families and society. People are touchy (especially those who have never brushed with racist cops or a sexist boss), and even for the newly woke and well-meaning man,…
By Collin Mitchell I call writer Billy Lombardo at his home in Chicago to talk about his novel, Morning Will Come. “How’s the summer been?” I ask him. “I’ve been doing some weird work,” he says, going outside to talk. His dad recently moved in due to COVID-19 and it’s a full house. He pauses and I can hear his dog…
Like so many of the recent stories about opiate addiction in the United States, Erin Khar’s journey toward heroin started with a pill. “I pulled The World According to Garp out from underneath my pillow and read,” she writes, remembering the first time she raided her mother’s medicine cabinet. She was eight. “After a little while, the heat in my body was replaced by the lightness of little bubbles . . . . It was the exit I desperately wanted.”
Khar’s experience as an advice columnist for Ravishly is well-suited to turn Strung Out: One Last Hit and Other Lies That Nearly Killed Me from what might otherwise be a distressing year-by-year account of addiction into a story that develops context and empathy toward mental illness and drug abuse. Khar is forthright in her opinion about our inability to understand addiction: “The stigma associated with opioids, with heroin, with “being a junkie,” prevents people from reaching out. And that stigma is killing us. Americans are stuck in a spiral of shame, and that shame drives the vicious cycle of relapse that many drug users get caught in.” In a culture that tends to conflate pity and prejudice toward adversity, this could be a helpful guide for the uninitiated in understanding the causes of drug and alcohol dependence.
Breaking the mold is a difficult thing to do and no one captures the difficulty of this hardship better than Lillian Breaker, the consciously wayward protagonist in Kevin Wilson’s new novel, Nothing to See Here.
As a teenager, Lillian is ambitious enough to get into the exclusive Iron Mountain, “a fancy girl’s school hidden on a mountain in the middle of nowhere,” but at twenty-eight she’s living in her mom’s attic, working two grocery store jobs, and smoking a lot of weed. So, what’s her problem? Her best (and rich and beautiful and scheming) friend, Madison Billings. If this novel isn’t about fate and class, family, the haves and the have-nots, then it’s about friendship and its exploitive little schemes.
Ripples from the past resurface in Steph Cha’s new novel, Your House Will Pay.
At the time of the writing of this review, veteran journalist K. Connie Kang had recently died after writing about the Korean community for the the Los Angeles Times. Kang gave voice to the Koreatown community affected by the riots in the wake of the Rodney King verdict. Journalists like Kang are burdened with adhering to the idea of truth, while the creative writer can entreat memory and personal experience in finding a truth that fits within the framework of their own grief. It’s these personal stories, the prejudiced tales told within families, that Steph Cha explores in her new novel, Your House Will Pay. Through the frame of early ‘90s race-tinged LA and our current grapple with race politics and police brutality, Cha ably depicts greater Los Angeles as it is: a melded body of bedroom communities, sun-bleached strip malls, and liquor stores threaded together by a dozen distinct cultures and a violent history. It’s in this context that the book examines the idea of transgressing the familial stories we think define us and finding a part of ourselves that can separate from the past. As one character observes: “This is when shit gets permanent. The choices you make are gonna stick, they’re going to follow you.”