Review by New York Times Review
THE IMAGINEERS OF WAR: The Untold Story of Darpa, the Pentagon Agency That Changed the World, by Sharon Weinberger. (Vintage, $17.) Few know much about Darpa - populated by a "procession of nuts, opportunists and salesmen," Weinberger tells us - but the group helped shape modern life and modern warfare. Some notable inventions: stealth aircraft, armed drones, Agent Orange and even the internet. EXIT WEST, by Mohsin Hamid. (Riverhead, $16.) In this elegant meditation on refuge, exile and home, a couple flee their unnamed country riven by civil war. Hamid weaves the surreal into his tale: Magic doors separate the dangers of home from the perils of a new life. The novel, one of the Book Review's 10 Best Books of 2017, is this month's pick for the PBS NewsHourNew York Times Book Club. STEVEN SPIELBERG: A Life in Films, by Molly Haskell. (Yale, $15.) A feminist critic's take on the filmmaker focuses on his Jewish identity. Praising the match between biographer and subject, our reviewer, Lisa Schwarzbaum, wrote, "The exploration here is lively, the critic is deeply informed and she approaches her mandate with a calmness of inquiry that is a gift often bestowed on the outsider anthropologist impervious to tribal influences." UNIVERSAL HARVESTER, by John Darnielle. (Picador, $16.) At the local Video Hut where Jeremy works as a clerk, someone begins splicing violent, vaguely malevolent scenes into the tapes, and his Idaho town is shaken. As his friends and family are consumed by the phenomenon, Jeremy pursues the mystery, culminating in a final reckoning at the remote farm where the scenes were filmed. Darnielle, the lead singer for the band the Mountain Goats, counteracts the sinister with acute sensitivity in this story, his second novel. WHY TIME FLIES: A Mostly Scientific Investigation, by Alan Burdick. (Simon & Schuster, $17.) Burdick, a New Yorker staff writer, investigates how we experience the passage of time: varying perceptions of duration; how humans agreed on the common measure of an hour. His account doesn't satisfy every question, but it opens up new lines of inquiry into the subtle and profound ways humans process time. NO ONE IS COMING TO SAVE US, by Stephanie Powell Watts. (Ecco/HarperCollins, $16.99.) A riff on "The Great Gatsby," this debut novel centers on the fates and fortunes of AfricanAmerican families in modern-day North Carolina As our reviewer, Jade Chang, put it, "Watts is interested in what black people are allowed to want - and allow themselves to want - in 21st-century America."
Copyright (c) The New York Times Company [August 30, 2019]
Review by Booklist Review
Watts, author of a short-story collection, We Are Taking Only What We Need (2011), and winner of a Whiting Award and an Ernest J. Gaines Award for Literary Excellence, explores The Great Gatsby's themes of yearning, loss, hope, and disillusion in her powerhouse debut novel. Set in today's South and delving into African American family life, the story primarily focuses on Sylvia, a middle-aged mother, and Ava, her thirtysomething daughter. They live in the same house and occupy complicated marriages that reveal both the tenuous and tenacious bonds of love. Other life-weary, imperfect characters reflect the economically depressed, near-ghost town, which somehow beckons Gatsbyesque JJ (now Jay), to return with his accumulated wealth and dreams of recapturing the best of his past. Watts' lyrical writing and seamless floating between characters' viewpoints make for a harmonious narrative chorus. This feels like an important, largely missing part of our ongoing American story. Ultimately, Watts offers a human tale of resilience and the universally understood drive to hang on and do whatever it takes to save oneself.--St. John, Janet Copyright 2017 Booklist
From Booklist, Copyright (c) American Library Association. Used with permission.
Review by Publisher's Weekly Review
In her patient yet rich first novel, a Great Gatsby reboot, Watts (We Are Taking Only What We Need) digs deep into the wounds of a down-and-out African-American family in the contemporary South. Lone wolf J.J. Ferguson returns to economically depressed Pinewood, N.C., after 15 years to woo Ava, his high school crush, and build a hilltop mansion for all to envy. But the reunion is not what he bargained for. Ava, now married to Henry, a handsome but chronically miserable man with another family on the side, is a bored bank teller, at her wits' end trying to get pregnant after three miscarriages (and searching for solace on mommies2b.com). Meanwhile Ava's mother, Sylvia, is overweight, tired of being married to a perennial cheater, and filling the void by taking weekly phone calls from a 25-year-old prisoner she's never met who reminds her of her son. The book takes a beat too long to find its rhythm, but when it does, it hits home-and hard. Watts powerfully depicts the struggles many Americans face trying to overcome life's inevitable disappointments. But it's the compassion she feels for her characters' vulnerability and desires- J.J.'s belief that he and Ava can work, Ava's ache for a family, Sylvia's wish to be seen and loved-that make the story so relevant and memorable. (Apr.) © Copyright PWxyz, LLC. All rights reserved.
(c) Copyright PWxyz, LLC. All rights reserved
Review by Library Journal Review
Set in rural North Carolina, Watts's first novel (after the award-winning short story collection We Are Taking Only What We Need) centers on the dynamics of a family struggling with strained relationships and disappointment. Sylvia carries on a phone relationship with Marcus, a prison inmate, to replace the distance between herself and her son, Devon. Ava, Sylvia's daughter, tries desperately to conceive a child and discovers a painful truth about her husband, Henry. JJ Ferguson, an old family friend, returns to town after many years away and causes disruption. Watts shares with us an often neglected segment of America-working and middle-class African Americans living in the current century-and all of the characters strive to find a balance between achieving what they want and settling for what life has dealt them. The many details of the Pinewood community ring true, particularly the contrast between the experiences of the older generation that remembers Jim Crow, and their children. VERDICT This quiet debut novel takes its time, much like the conversations among the various characters, which meander and loop around before reaching their point. The resolution is believable and gratifying without being pat. [See Prepub Alert, 10/24/16.]--Christine -DeZelar-Tiedman, Univ. of Minnesota Libs., -Minneapolis © Copyright 2017. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Review by Kirkus Book Review
The Great Gatsby is revived in an accomplished debut novel.Winner of a Pushcart Prize and other awards for her short fiction, Watts (We Are Taking Only What We Need, 2011) spins a compelling tale of obsessive love and dashed dreams set in a struggling North Carolina town. The furniture industry that once served as the major employer has shifted its factories to Asia, leaving former workers feeling unmoored and depressed. Even those who have jobsSylvia, who works for a social service agency, and her daughter Ava, a college graduate who has risen to loan officer in a banksee that they have fallen far short of achieving the American dream. Watts creates tender, sympathetic portraits of her two main characters, women enveloped in grief: Sylvia's for her dead son, Ava's over her inability to conceive the child she desperately wants. Among the town's inhabitants, only JJ Ferguson seems to have succeeded: in the 15 years since he left Pinewood, he has become an enviably rich man. Suddenly, he has returned, and Sylvia wonders if he wants to show off, to prove that "someone like her, someone black, someone once poor, could come back to town and smash it underfoot." But revenge is not why JJ is building a mansion on the hill overlooking the town; he has come back for Ava, whom he has loved since they were children. JJ desires Ava with as much passion as Jay Gatsby felt for Daisy Buchanan. If he won Ava's heart, Sylvia realized, he "thought he could star in his own adventure, be the hero in his own story." That desire infects all of Watts' characters, who wish to star in their own stories, however modest. Sylvia simply wants to be a "known person," to feel "that she had been important to someone." That need compels her to form a relationship with a prisoner rejected by everyone else in his life. Ava's overwhelming need is to be a mother. Watts' gently told story, like Fitzgerald's, is only superficially about money but more acutely about the urgent, inexplicable needs that shape a life. Copyright Kirkus Reviews, used with permission.
Copyright (c) Kirkus Reviews, used with permission.
