Rabbits for food

Binnie Kirshenbaum

Book - 2019

"Master of razor-edged literary humor Binnie Kirshenbaum returns with her first novel in a decade, a devastating, laugh-out-loud funny story of a writer's slide into depression and institutionalization. It's New Year's Eve, the holiday of forced fellowship, mandatory fun, and paper hats. While dining out with her husband and their friends, Kirshenbaum's protagonist--an acerbic, mordantly witty, and clinically depressed writer--fully unravels. Her breakdown lands her in the psych ward of a prestigious New York hospital where she refuses all modes of recommended treatment. Instead, she passes the time chronicling the lives of her fellow "lunatics" and writing a novel about how she got to this place. Her stor...y is a hilarious and harrowing deep dive into the disordered mind of a woman who sees the world all too clearly. Propelled by stand-up comic timing and rife with pinpoint insights, Kirshenbaum examines what it means to be unloved and loved, to succeed and fail, to be at once impervious and raw. Rabbits for Food shows how art can lead us out of--or into--the depths of disconsolate loneliness and piercing grief. A bravura literary performance from one of our most witty and indispensable writers"--

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Subjects
Genres
Psychological fiction
Humorous fiction
Published
New York : Soho Press [2019]
Language
English
Main Author
Binnie Kirshenbaum (author)
Physical Description
371 pages : illustration ; 22 cm
ISBN
9781641290531
Contents unavailable.
Review by New York Times Review

FURIOUS HOURS: Murder, Fraud, and the Last Trial of Harper Lee, by Casey Cep. (Knopf, $26.95.) Cep's remarkable first book is really two: a gripping investigation of a rural Alabama preacher who murdered five family members for the insurance in the 1970s, and a sensitive portrait of the novelist Harper Lee, who tried and failed to write her own book about the case. LOT: Stories, by Bryan Washington. (Riverhead, $25.) This audacious debut collection, set in the sand- and oil- and drug- and poverty- and resentment-soaked landscape of Houston, is a profound exploration of cultural and physical borders. SEA PEOPLE: The Puzzle of Polynesia, by Christina Thompson. (Harper/HarperCollins, $29.99.) Mystery has long attended the inhabitants of the Pacific's far-flung islands: Where did they come from, when did they get there, and how? Thompson explores these questions, with a particular focus on the early Polynesians' incredible navigational skills. WHEN BROOKLYN WAS QUEER, by Hugh Ryan. (St. Martin's, $29.99.) This boisterous history captures the variety and creativity of the sexual outsiders who congregated around the economic hub of the Brooklyn Navy Yard, a flourishing center of gay life from the middle of the 19 th century until well into the 20 th. THE GLOBAL AGE: Europe 1950-2017, by Ian Kershaw. (Viking, $40.) In a time of uncertainty and harsh political division, Kershaw's book is a valuable reminder that Europe's recent history was a period of enormous accomplishment, both politically and economically, achieved against obstacles that make many of today's troubles seem minor by comparison. THE PARISIAN, by Isabella Hammad. (Grove, $27.) This strikingly accomplished first novel, set in the early 20th century and modeled in part on the life of the author's grandfather, captures the fate of a European-educated Arab, a man divided, like his native Palestine. NORMAL PEOPLE, by Sally Rooney. (Hogarth, $26.) Rooney dramatizes with excruciating insight the entwined lives of a high school couple as they mature into college students, bringing to light how her contemporaries think and act in private, and showing us ourselves in their predicaments. RABBITS FOR FOOD, by Binnie Kirshenbaum. (Soho, $26.) After a New Year's breakdown, the heroine of this furious comic novel checks into a Manhattan mental hospital and starts taking notes. OPTIC NERVE, by Maria Gainza. Translated by Thomas Bunstead. (Catapult, $25.) In this delightful autofiction - the first book by Gainza, an Argentine art critic, to appear in English - a woman delivers pithy assessments of world-class painters along with glimpses of her life, braiding the two into an illuminating whole. The full reviews of these and other recent books are on the web: nytimes.com/books

Copyright (c) The New York Times Company [June 2, 2019]
Review by Booklist Review

When asked if Bunny is her real name, this high-strung New York writer, who barely survived childhood in a calamitously unloving family, says that she got her name because her parents raised rabbits. For food. Acidly smart and unfiltered, Bunny does not suffer fools gladly; in fact, she now does nothing with joy. She can barely get off the couch. In what should be a time of hope as the first African American president takes office for his first term, caustic Bunny is overwhelmed by rage and anguish. In her first novel in a decade, Kirshenbaum reclaims her scepter as a shrewdly lacerating comedic writer, joining Sylvia Plath, Ken Kesey, Will Self, Ned Vizzini, Siri Hustvedt, and others in writing darkly funny and incisive fiction about life in a psychiatric hospital ward. As Bunny slouches toward equilibrium, finds camaraderie with other patients, and is able to write again, thus granting readers mordant glimpses into her past, Kirshenbaum offers a veritable primer on depression, spiked with lines like: Despair cannot be monitored like blood pressure or measured in centimeters like a tumor. --Donna Seaman Copyright 2019 Booklist

From Booklist, Copyright (c) American Library Association. Used with permission.
Review by Publisher's Weekly Review

Kirshenbaum's first novel in 10 years (The Scenic Route)-a tour de force about 43-year-old novelist Bunny's descent into an abysmal clinical depression-is a remarkable achievement that expertly blends pathos and humor. Readers meet the self-effacing Bunny in a psych ward, waiting for a therapy dog that never arrives. From there, the narrative backtracks to follow Bunny's trajectory from accomplished writer to being another one of the "lunatics." The death of her best friend tipped Bunny into her downward spiral, which bottoms out at a suffocating New Year's Eve dinner that goes very bad. Soon, she's checked in to a psych ward and under the care of doctors whose ideas about treatment diverge sharply from her own. There are hints of pending doom in flashbacks of Bunny's childhood: she felt out of place as the middle child in a middle-class home, and her outspoken (and generally caustic) observations were resented by her family. Amid the backstory and Bunny's razor-sharp scrutiny of living in a mental hospital, Kirshenbaum sprinkles in Bunny's brilliantly written and revelatory responses to the writing prompts given in the psych ward's creative writing class. Elsewhere, Bunny's cutting riffs on life in New York City, the psychiatrists she has seen throughout her life, and the effects of numerous medications, are eye-opening. Comparisons to One Flew over the Cuckoo's Nest are obvious and warranted, but Kirshenbaum's dazzling novel stands on its own as a crushing work of immense heart. (May) © Copyright PWxyz, LLC. All rights reserved.

(c) Copyright PWxyz, LLC. All rights reserved
Review by Kirkus Book Review

A writer experiences a breakdown and ends up hospitalized; against all odds, hilarity ensues."The dog is late," says Bunny, "and I'm wearing pajamas made from the same material as Handi Wipes, which is reason enough for me to wish I were dead." Bunny is seated on a bench in a psych ward waiting for the therapy dog to arrive. It never does. After a New Year's Eve breakdown, preceded by months of severe depressionshe found herself unable to leave her apartment or sleep or eat or showerBunny has landed in a Manhattan hospital surrounded by the fellow patients she refers to, variously, as inmates, lunatics, psychos, and loons. Occasionally her husband, Albie, visits, bearing chocolate bars and peanut butter. Kirshenbaum's (The Scenic Route, 2009, etc.) latest novel follows Bunny, whose name is just one vowel sound away from Kirshenbaum's own, through her depression and hospitalization. Surprisingly, the book is hilarious. Bunny has no patience for self-delusion or pretension; she's sharp-tongued and deliciously mean. (Like Kirshenbaum, she's a writerthey share other biographical details, too.) Anticipating the New Year's Eve party she and Albie attend every year, Bunny describes "catching up with people they've not seen since the New Year's Eve before because who would want to see these people by choice?" Kirshenbaum's prose is lean and her timing is impeccable; even better, her descriptions of Bunny's intellectual "friends" are sharply unforgiving. At dinner, one friend "wants to know if any of them have read the Bolao. That's how he refers to 2666, as the Bolao.' " The novel is just as strong once Bunny gets to the hospital, where she refuses medication. If anything, the book's end comes too soon.Kirshenbaum is a remarkable writer of fiercely observed fiction and a bleak, stark wit; her latest novel is as moving as it is funny, and thattrulyis saying something. Copyright Kirkus Reviews, used with permission.

Copyright (c) Kirkus Reviews, used with permission.

The dog is late, and I'm wearing pajamas made from the same material as Handi Wipes, which is reason enough for me to wish I were dead. I'm expecting this dog to be a beagle, a beagle dressed in an orange dayglow vest the same as the orange dayglow vests worn by suitcase-sniffing beagles at the airport. To expect that the do-gooder dog will be the same breed of dog wearing the same outfit worn by narco-dogs no doubt reveals the limitations of my imagination.      On the opposite wall from where I sit is the Schedule of Activities board. The board is white, and the Activities are written in black marker across a seven-day grid. Seven days, just in case I want to plan ahead, map out my week. Next to the board is the clock, one of those schoolroom-type clocks, which moves time as if through sludge. That's it. There's nothing else to look at other than the blue slipper-socks on my feet. Shoes with laces are Not Allowed. Other shoes Not Allowed are shoes with high heels or even kitten heels, as if a kitten heel could do damage, which is why I'm wearing the blue slipper-socks. Slipper-socks with rubber chevrons on the soles. Chevrons are V-shaped, but the V is upside-down. The slipper-socks also come in dung-colored brown.      A partial list of other things Not Allowed includes: pencils, nail clippers, laptops, cell phones, vitamins, mouthwash, and mascara.      It doesn't take long to grow bored by my slipper-socks, and I turn my attention back to the clock. The second hand stutters, ffffffifty-one, ffffffifty-two. A watched pot never boils. My mother used to say that, that a watched pot never boils. Also, every cloud has a silver lining, tomorrow is another day, and time heals all wounds. Words of comfort that invariably resulted in a spontaneous combustion of spastic adolescent rage. One of the nurses, the tall one, tall and skinny, gangly not graceful--Ella, her name is Ella--walks by, and then as if she'd forgotten something, she pauses, pivots and retraces her steps. "Mind if I join you?" she asks. To sit on the bench, Ella has to fold herself as if her arms and legs were laundry.      In stark contrast to the rest of her, Ella's head is round like a ball; bigger than a baseball and smaller than a basketball, but that's the shape. Exactly like a ball. She's like a stick figure come to life, having stepped out from that ubiquitous Crayola crayon-on-paper drawing, the one with the three stick figures and a tree and a square house with a triangular roof set like a hat at a jaunty angle. From the upper left-hand corner, a giant yellow sun warms this lopsided two-dimensional world. No doubt it's some standard developmental thing, that most children draw the same crap picture at the same crap-picture stage of life. Except for the prodigies and the children who are already fucked up. With the fucked-up ones you get a different picture, something along the same lines, but with the house on fire or the stick figures missing their heads. The prodigy, as young as the age of four, will draw a split-level house with gray shingles, and in the foreground, beneath a maple tree in autumn, a dog frolics in a pile of leaves. I know this for a fact because my sister, the older one, Nicole, was a prodigy in art although later she did not live up to her potential, assuming there was potential and her talent was not one of those things kids simply outgrow, the way my younger sister, the third of us three girls, was born with allergies to milk and wool among other things, which she outgrew at puberty.      Ella and I sit here on the bench as if the two of us are in this together, as if we are both waiting for the dog, but then Ella says, "You know what, hon? I don't think the dog is coming today." Ella calls everyone "hon." I'm not special, which is one of the things that about kills me from the hurt of it, that I'm not special.      And worse than the hurt of not being someone special is the shame of it, the shame of how much I want that, to be someone special.      The dog is supposed to be here. It says so on the Activities Board. Mondays and Thursdays from 10 a.m. to noon: Pet Therapy (Dog).      "He didn't come on Monday, either," I say, and the sorrow I experience about the dog not showing up is way out of proportion to the fact of it, but that is why I'm here, isn't it? Because the sorrow I feel about everything is bigger than the thing itself?      At home, Albie and I have a cat who is almost, but not quite, two years old. A rescue. Literally. A man found him in a brown paper bag in a trash can on Third Avenue and Sixty-First Street. A kitten tossed into the garbage as if a kitten were a banana peel. We named him Jeffrey, and on his first day in his new home, he trailed after me the way a duckling follows its mother, or the way a puppy would've trotted at my heels. "I know he looks like a cat," I said, "but I think he might be a dog."      The following morning after Albie left for work, I got out of bed, as it was my habit to start my day alone. Here, now, in this place, there is no such thing as alone, which would drive me out of my mind, if I weren't already out of my mind. Jeffrey raced to follow me to the kitchen where I put fresh food in his dish and clean water in his bowl. Down on one knee alongside him, I gave him a scratch behind the ears and kissed him on the top of his soft little head before getting up to take a shower.      It was only after I'd rinsed the shampoo from my hair, when I opened my eyes, that I found Jeffrey there, at my feet, in the shower, looking up at me as if mildly confused: Why we are getting ourselves wet, on purpose? I scooped him up into my arms and turned away from the shower spray to cuddle him, to shelter him from the storm raging at my back. In the telling and re-telling of this episode, I would leave out the last part and let the story be about nothing other than a goofy kitten's extreme cuteness.      Ella suggests that we give up on the dog for now, that I join some other Activity. "So, what do you think, hon? How about Arts and Crafts?"      On Monday when the dog didn't show up, I went to Arts and Crafts.      Activities are not exactly mandatory but, as Dr. Fitzgerald made clear from the get-go, the road to mental health is paved with Activities such as Painting with Watercolors, Board Games, Origami, Spirituality, Yoga, or even worse--Sing-along, for example.      "Positive interaction within a group is a strong indication of mental health." Dr. Fitzgerald could not stress enough the importance of social engagement with the other lunatics.      Even at my mental-healthy best, I'm not one for activities. Positive interaction within a group has never been much part of my social experience. "It's not just now," I tried to explain. "Please," I said. Please, the please subverted an assertion into a request, as if I were asking a favor, as if I were begging.      I do not want to go to Arts and Crafts again. The Arts and Crafts therapist clearly believes that a troubled mind is a simple mind, that to be clinically depressed is the same thing as to be a congenital idiot. In Arts and Crafts on Monday, we glued mosaic tiles to a square piece of wood to make the exact same whatever-the-fuck-it-was that I made in arts and crafts class in the third grade. Even in the third grade, I knew that this was something only a demented person would want, and sure enough, the obese loon sitting next to me asked if she could have mine. That night after dinner, when Albie came to visit, I told him, "I made something for you in Arts and Crafts, but one of the crazy people stole it."      As if perhaps there is something she's overlooked, Ella concentrates on the Activities Board. She has overlooked nothing. She knows what choices remain: Creative Writing or Jigsaw Puzzles.      Granted, I am clinically depressed but I'm not that depressed, so low as to go with Jigsaw Puzzles, and Creative Writing--you've got to be kidding me. Excerpted from Rabbits for Food by Binnie Kirshenbaum All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.