Tag Archives: Literary Fiction

How to Find Your Way Home by Katy Regan

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…here begins one of the last evenings I remember of my old life. The life I had constructed like the tough, prickled outer shell of a horse chestnut around me, before it was cracked open and the truth of my life was laid bare, as frighteningly untouched and uncharted as that shiny conker hidden inside.

Do we choose our homes? Physically, sure. As adults we can move here or there. Does a chick choose its nest? We are not necessarily bolted to our birthplaces, but they are our first homes, and that initial setting is a very powerful thing, rich with association, memory, and attachment, particularly if we remain there more than just a few years. Many, maybe most people move away, significantly away. We may return annually to see family, or not. Maybe the places to which we relocate become truer homes for us. I shudder, for example, at the thought of ever again living in the neighborhood where I was raised. While I love the city, that particular part of it holds no attraction for me. I got out as fast as I could, and never wanted to be back there again. But for many, like Dorothy Gale, there is a primal bond with that ground. There’s no place like home for Stephen Nelson, as well, as he carries deep ties to the place where he was raised. He has been away from it for a very long time.

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Katy Regan – from her Facebook pages

Emily Nelson has different rootedness issues. A connection to her brother is where home is for Emily. Stephen was an amazing big brother, about five years older. Delighted to have her there, eager to teach her about what excited him in the world, which was mostly birds, an interest his father shared and nurtured in his children. And she was always thrilled to be with “Deebie.” They found a particular Eden-ic magic in the avian-rich marshlands very near their home on Canvey Island, (Essex’s answer to the Mississippi Delta) even camping out there sometimes. She is concerned about his survival.

Their allegiance gained significance when their mother, unhappy with her exurban experience, ditched their father for what she’d hoped would be a more satisfying life. Sadly, her new mate seemed to have a bug up his bum about Stephen, always criticizing him, never recognizing Stephen’s strengths, and generally being a total horse’s ass of a stepfather. The sibs really needed to stick together when they were with Mum and Mitch. But something happened when they were still kids. Mitch was severely injured, and Stephen was jailed, from his teens into his twenties. Once out, things did not go well. He has been living rough for the last fifteen years.

We meet Emily in the today of the novel, 2018. She is 31, living in London, a housing officer in the council’s homeless department. She has had a series of relationships, (failure to nest?) the latest of which is with an architect, but:

She realizes that James will not last, no one will until she can resolve the huge hole in her from the loss of Stephen.

They have been out of touch since shortly after his release from prison. She has been desperate to find him for some time. When she hears his voice in her office one day, the chase is on. She invites him to move in with her.

The story moves along two time tracks. First is the contemporary, as Emily searches for Stephen, wanting to reconnect with him, wanting to help him, wanting to get her brother back after a very long absence. This current-day look is split between Emily’s first-person and Stephen’s third-person POVs. The second time track is a slow unraveling of the past, from Emily’s birth to the tragic event that defines the story. What happened in their lives as kids? What forged their bond? What ultimately caused Stephen to be sent to jail? Why has Stephen been homeless for so long? This is told in ten chapters, named for birds, telling stories from their childhood involving specific birds, or breeds, or just using bird imagery. Stork, for example, is about Emily’s arrival. Mother Duck tells of a Make Way for Ducklings event. Cockatoo refers to someone’s hairstyle.

Stephen struggles with hope, whether to keep on or to fly the coop on possibility. Lord knows, he has had plenty of reasons to. His father has been willing to keep lines of communication open, if with less than total warmth. But his mother, unhappily, stuck with caring for the husband whose tetraplegia is the reason Stephen was imprisoned, is not so eager. Stephen has learned to survive on the streets, kept going by his love of birds. He has artistic ability, and picks up some money selling drawings of them.

Regan first volunteered at a soup kitchen for the homeless when she was 17.

My favorite bit of the shift was to sit down after we’d served breakfast and chat. What surprised me then, besides the sheer resilience these people possessed, was how little there was between my life—a “normal life”—and theirs. A few wrong turns, a relationship breakup, some bad luck was all it seemed to take for you to wind up sleeping on the streets and relying on charity to eat. Most of all, what I learned there (as well as from my research for How to Find Your Way Home) was that the difference between those who managed to dodge homelessness and those who slipped through the net was just that: too-big holes in the net. If you’d burned the bridges of your support network or had been abandoned by the people in it, you were out of luck. When I became a writer, I promised myself I would one day write a book telling the story of a homeless person. – from the Bok Club kit

Bird imagery permeates the novel. In fact, there is enough avian material here to fill a king-size comforter. It is as lovely as one of those too, the feathered supporting cast bolstering the issues among the feather-free characters. A skein of geese, for example, is explained as group members taking turns bearing the brunt of the migratory lead. Swifts faithfully return to the same nesting site every year, maintaining their pair-bond for life. Although birds permeate the novel, the bird-title chapters focus on this imagery most pointedly.

Another motif to keep an eye on is windows. Stephen is an outsider from childhood. Emily feels like one as well. Windows always mark a separation, and what you see through them may not tell a true or a full tale.

That’s what you’d see, if you looked through the window: four thirty-something friends, “upwardly mobile” themselves I suppose, having dinner, chatting, having fun on a Saturday night, me in the middle in my orange top that says “Happy Days” on it. But I’m not happy.

Sometimes, windows offer frightening views.

A dark, tall shadow flashed across the kitchen window and I jumped half out of my skin.

Stephen and Emily have some serious issues between them to contend with, in addition to the challenges that both face with the wider universe. Stephen has good reason to be cautious about the world. He may have been sent to prison for a crime as a teen but he seems a pretty decent sort as a served-his-time thirty-something. Emily may have cut herself off from the world of love emotionally, if not physically, but we come to see that this originates in pain. She seems to have a good heart. So, rooting for these two is easy. And there is a very satisfying twist toward the end. HTFYWH was moving enough that my notes include three instances of TEARS!. There is also some exquisite, lyrical writing here.

I suppose there a few loose feathers that might make one sneeze a bit. Stephen seemed to spend an extreme number of years living on the street. Really? No social service types managed to coral him into a rehab program, maybe got him set up with a social worker. Possible? Oh, sure. But, still. Could Emily really have afforded a London flat in a nice neighborhood on a public employee’s income? Also, the wrap-up seemed a bit speedy. Without spoiling anything, situations were presented that seemed lacking in sufficient preparatory support. And yes, there was certainly a large volume of feathery references. Some might find that a downer. I rather liked it. I will spare you the Emily Dickinson quote, but it is certainly an undercurrent here as Stephen’s ability to carry on is bolstered by his love of birds and birding.

Louise Erdrich this ain’t, but it is a lovely, warm-hearted novel. That said, I found myself always very eager to return to my bedtime book home for the week and a half for which I was able to stretch this out. Dorothy Gale was right. There’s no place like it.

Stephen loved the sounds as much as he loved the space out here: the wind, creeping through the grasses, that reminded Stephen of rain, when it first, softly, begins to fall; the hum of traffic coming from the A130; and the occasional train, slicing through the countryside with its ghostly sigh. Stephen liked these reminders that the town was nearby. It was as if England and all it had to offer was right here, at the edge-lands—a world within a world. And it had been rolled out like a map, for him to run free over.

Review posted – February 4, 2022

Publication date – February 15, 2022

I received an ARE of How To Find Your Way Home from Berkley in return for directions. Thanks, folks.

This review has been cross-posted on GoodReads

============================EXTRA STUFF

Links to the author’s personal, FB, Instagram, and Twitter pages

Katy Regan was brought up in a seaside town in northern England. She studied at the University of Leeds before moving to London, where she worked as a journalist and as a commissioning editor at Marie Claire magazine. How To Find Your Way Home is her fifth book.

Items of Interest from the author
—–A map of locations in the novel
—–Book Club Kit

Songs/Music
—–The Hollies – He Ain’t Heavy, He’s My Brother – chapter 6
—–Robin S – Show Me Love – chapter 13

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Filed under Fiction, Literary Fiction, Reviews

And Now, Presenting… – Performance Art by David Kranes

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I’m missing a dove, he tells me, a small water fountain…half an assistant.
I’ll keep my eyes out, I tell him. 

It’s that awful moment when any of us realize that why we began something is no longer why we’re doing it.

In his latest short story collection, literary lion David Kranes puts on quite the show. Performance Art offers up stories about people who perform in public. Nine of the stories in the collection were published between 1991 and 2015, with four new tales fleshing it out to a baker’s dozen. While offering some new material the collection serves more as an introduction to a powerful literary writer you may not know. Kranes is 84, and has been at this a long time. He writes in whatever vessel seems appropriate for the stories that occur to him, whether that is poety, plays, novels or short stories. Sometimes the stories migrate. One of the included tales here was the inspiration for a novel.

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David Kranes – image from Continuum

The external focus in this collection is performance, stage performance, for the most part, although the definition is somewhat fluid. The talents on display run quite a gamut, from a daredevil to a stand-up comic, from an actor to an escape artist, from a spokesperson for a weight-loss program to a magician, from a fire and glass eater to a master of sleight of hand, to a world-class photographer, to a carnival knife thrower, and a bit more.

There are some themes, images, and issues that run through, central among which is invisibility. People feeling unseen, maybe even being unseen.

Scott paces four rooms, each one of which, even when he’s in it, seems empty. (A Man Walks Into a Bar)

Nothing about me took up—space or anything else (Target Practice)


Ginger’s twenty-seven and has almost perfected invisibility. (The Weight-Loss Performance Artist)

I turned and moved away. Went. Didn’t stop. Didn’t look back. Instead: became invisible. Became a ghost anchored only by an abiding faith, finally, in the power of absence. (Escape Artist)

Painters permeate. Two of the lead characters paint, and painting is an element in several others. In Daredevil, a character is fascinated with Hans Holbein’s Dance of Death. Target Practice includes a character very into Turner. The Garden of Earthly Delights get some spotlight in Devouring Fire.

Celebrities drift or flash through the stories, and not in a particularly favorable way.

Several characters are faced with potentially life-changing opportunities. A painter has a chance to be a very in-demand actor. Another painter might have a chance to direct a film for a household name producer. A stage performer has a chance to revive a career long thought dead and buried. An obese woman is offered a huge sum to be the public face of weight loss. A drug addict is offered a chance to be the knife instead of the target.

The notion of next comes up. In Daredevil, pop offers useless advice to his son re next steps in life. In Target Practice a social services report on the narrator calls her directionless. (“I had no comprehension of next. I had no next moments; obviously no next month, no next week.”)

The stories are set in Vegas, mostly, the southwest, generically, Idaho a time or three. It is pretty clear that Kranes knows The Strip and Vegas like a local. He lives in Salt Lake City. I do not know if he ever lived in Vegas or maybe spent a lot of time there. Both seem likely.

There are a few tales that include bits of fantasy. Most do not. I would not categorize this as a fantasy collection, per se.

While the circumstances are sometimes extreme, there is still plenty to relate to. How many of us have felt unseen, invisible in the world, or maybe want to be. I can certainly relate to the latter. In my theatrical debut (It was Kindergarten I think) I was called on to walk to center stage and recite Peter Peter Pumpkin Eater. I managed to get the words out, but that was not all. By the time I exited stage left my pants had taken on an unwanted yellow tint. Invisibility cloak, please, NOW!!! And we have probably all felt the sting of feeling completely unseen by that boy or girl, man or woman whom we really, really want to see us.

Bottom line is that this collection may not feature all new material (that said, even the previously published stories were new to me) but it offers a splendid sample of a literary talent of great skill and power. David Kranes is a writer worth getting to know. This is top-tier, star-power material.

Review posted – 10/5/21

Publication date – 10/15/21

I received an e-galley from the University of Nevada Press through NetGalley, in return for a visible, performative review. Thanks.

======================================THE STORIES
The Daredevil’s Son (2010) – imagine your father was Evel Knievel. Imagine he was dead set on you following him in the family business. Imagine you have the body, the build, and the looks. Then imagine you have zero interest in doing that.

“So then, you don’t want to be like…do what your father does?” people asked.
“No, because my father scares people,” Lucas Jr said.

There is a lot here that resonates with Kranes’s life. He grew up in the Boston area, his father a big-shot surgeon at one of the biggest hospitals in the city. He even enrolled in pre-med, but knew it was not for him. Later even tried Yale Law School. Ditto. Dinners at home would feature Nobel Prize winners (as guests, not on the menu). The bar seemed too high, the pressure too intense to succeed, to perform at that level, at things that did not appeal to him all that much. He headed west instead, opting to follow his own inclinations, not those of his father.

The Stand-up Phobic (2015)
Ethan Fallon feels compelled to perform on stage.
The language of the story mimics the sort of stream-of-consciousness that Robin Williams might have launched into in a moment or that George Carlin might have scripted. It is about words, words, words, and associations, free or otherwise There is a manic aspect to Ethan. It is presented as an interview between Ethan and…someone. You feel bad for the guy, with all this verbal churn going on in his head, and only the stage as a venue for relief.

Ethan’s hair is an air show and he’s sweating. Every performance lately seems a conspiracy-theorist’s nightmare. Any room he’s booked into is slack-jawed and oversized and swallows him. Like a bad Jonah dream. Like having a three-day booking at the Whale. AT THE HOUSE OF RIBS. YEAH! PUT Y0UR HANDS TOGETHER—WON’T YOU, PLEASE—for our own sackcloth and ashes! Ethan Fallon!

A Man Walks Into A Bar (2012)
Scott Elias, a dealer (cards, not drugs) and painter, is approached by two men in a Vegas bar. They mistake him for a well-known actor, but offer him a screen test because they like his presence. They see something in him. So Scott is carted off to appear in the film, sorry, project, they are producing, and life gets crazy from there. But is this the life he wants? He has a roomie, a young man, Tory, also a painter, who had been injured in an auto mishap. It is more of a ward and sponsor relationship, not a sexual one. Tory’s paintings reflect Scott’s inner battle.

Escape Artist (2002)
From birth, Lou has been getting out of things. The need comes with some innate capacity. But there are others who would do well to escape unwanted circumstances, yet lack the native tools and even when they learn the learnable skills, opt for the safety of captivity to the freedom of escape. This story includes a bit about escaping the East Coast, and doctor father, which echoes the author’s relationship with his father.

When I was two, a nurse locked me in a closet under a pile of coats. I got out. When I was six, three bullies tethered me with clothesline, filled my mouth with detergent. I escaped, spat the detergent into the sunlight. It turned green in the bright air, hardened into a nugget of turquoise.
At two, six, I had no words, no plan, only knew my need: lift. Rise, break out, court the insane of the world—if that’s what it took.

When the Magician Calls
Daniel Lawrence, or maybe Lawrence Daniel, has tracked Sheila down. (There is a reference in another story to a Sheila who had been at least partly mislaid by a fading magician) He seems to think Sheila will remember him. Sounds like they had had a prior connection. He would like to help her fully disappear from her current, somewhat imprisoned life. Maybe he can conjure a bit of magic, although it may not be his true calling. My stage-self hungers for standing-room-only. Mostly, though. I feel like some kind of bulked tortoise, lumbering to the sea.

Target Practice
The female narrator seems to have almost died too many times to be a coincidence as a kid. Became a target when she got older, for a Sunday school teacher, for boys with an interest and for needles. But when she meets a carnival knife thrower (and former MLB pitcher) she learns, ironically, how not to be a target, but to be the knife, her survival no longer an unexpected miracle.

The Warren Beatty Project (1991)
Ethan Weise has had a bit of success with his painting, sold canvasses to some famous people. He is working on a series of Edward-Hopper-type paintings, set outdoors. Once, he worked as a “visual consultant” with a student at the American Film Institute. And then, one day, Warren Beatty calls, wanting him to direct a project for him. LaLa Land beckons, limo-driven and low on artistic merit, rich with industry glitterati and the suggestion of connection and work, while short on actual delivery. While his girlfriend pulls him in a different direction. Will he gain notice, or remain largely unseen? Is this project the stuff dreams are made of, or something else?

The Weight-Loss Performance Artist (2008)
Ginger is 5’5” and 340 pounds. Two men approach her to take part in a project. They have a weight-loss program called PoundSolve that offers tailored meals to subscribers, and software that can project what someone will look like after reaching certain weight-loss benchmarks. They would like Ginger to be their spokesperson, and will pay her $4k per pound for every sixteen ounces she takes off. It a pretty good deal from where she sits. Ginger’s twenty-seven and has almost perfected invisibility. As she moves up to translucent, and even apparent, life changes in many ways. The question is how she will cope and whether the changes are all welcome.

My Life as a Thief
The narrator here is unnamed. His father is a doctor, working at Mass General (where Kranes’s father worked). He started doing magic at eleven, with a kit his dad bought him. Turns out to be a gateway drug to ever more professional levels of magic. His life as a thief begins when he is thirteen, teamed up with Arthur Foley, a pal, whose father happens to be a criminal. Turns out having a talent for making things disappear offers a direct path to shoplifting. They move on from there.

Devouring Fire—An Interview
Robbie, a young reporter, has a chance to interview an entertainment legend, Anthony Aquila, 89 years young and still scary. Anthony is renowned for his ability to eat both fire and glass.
There is a fun interaction between the two of them, as Anthony totally intimidates the young man, but also sees the potential in him.

I’ll confess here: I was drawn to his image. It was like one I’d seen in my History of Religions course at State; he was an ascetic. A kind of harp with skin. Bare feet. Ribs like a rack of lamb. Deep hollow cavernous eyes. You could almost hear his echos echo. Shabby, torn clothes. I got the sense that whatever he did, at the same time he could stand back and watch himself doing it.

The Resurrection of Ernie Fingers
The Downtown Palace in Vegas seems to be doing everything right, post Covid, yet the players are not showing up. The place needs something

We need an attraction,”Dickie Rice, the GM, said to Tony Padre, Head of Marketing. “We need crowds fighting to get in. We do that and who we offer, what we offer will sell itself.”
Tony Padre agreed, “Attraction! Absolutely! But what? Who?”

They bring a legend back. Ernie Fingers is a fill-the-place-entertaining performer, but he has been out of the business for a while and has gotten way too familiar with a particular brand of hooch. Can Ernie be brought back to his old form? Ernie ha a special ability, though, and his skills may be fading.

The Photojournalism Project (1996)
Melissa Probert is a gifted, very much-in-demand international freelance photographer. Her work has been shown in major national museums. Hunt is a painter, working on a project making tempura images of roadside memorials. They had a thing once but have remained friends. Melissa calls Hunt to help her with a special project, a book. She wants to make a photo history of a binge drunk, her own, she having a history of such antics, sans lens. Hunt and Leah, his wife? gf? have an ongoing conversation while he is at Melissa’s multi-day drunk re what and how he sees and her forbearance of his friends. In offering a stage for the unseen, is Melissa making Leah vanish from Hunt’s life?

The Fish Magician (1997)
Malcolm volunteers from the audience at The Monte Carlo in Vegas to participate in magician Lance Burton’s show. He steps into a Lucite box on the stage and in short order is vanished…well…transported, to Idaho it would appear. Oopsy. And the aging magician cannot recall where he’d sent Malcolm. Some time later his wife, Ginger, alarmed at her husband’s sudden disappearance, and failure to reappear, hires an investigator to find out just WTF happened. This is a fun tale in which the investigator is a psychic former NFL player who dreams of doing standup. The story was the basis for Kranes’s 2018 novel Abracadabra.

=============================EXTRA STUFF

Kranes does not maintain an on-line presence, as far as I can tell.

Here is a profile of him in Mapping Literary Utah

Interview
—–Radiowest – The Legend’s Daughter – by Doug Fabrizio – audio – 52:04 – even though it was recorded eight years ago I found this interview very illuminating re this collection

Songs/Music
—–Arthur Rubinstein – Chopin’s Nocturne in E-Flat – From Ernie Fingers

Items of Interest from the author
—–short story from this collection – The Daredevil’s Son
—–short story – A Figure in a Window
—–a one-act play – Infrastructures

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