The Fiction of Privacy
Review: The Expanse Between

Joe Magaletta


Lee L. Krecklow
Fiction
Winter Goose Publishing 
Paperback, $13.99

A Jump Into Reality
Review: Hoopty Time Machines

Jordan Moslowski

Christopher DeWan
Fiction
Atticus Books, pp 133
Paperback, $14.95 US


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Every child hears “Once upon a time” and immediately knows that “happily ever after” is on its way. Snow White is woken up with Prince Charming’s kiss. Ariel gets her legs and her man. Cinderella is reunited with her precious glass slipper and her true love. But what happens when you wander off into your own once upon a time, only to find that Cinderella’s other shoe has dropped on your head? Suddenly you’re sitting on the commuter train, heading into another Monday of sucking down crappy coffee in that tiny office it took you five years of making copies and running office lunch orders to get promoted to.

Now you’re thinking happily ever after might just be for fairy tales after all.

Songs for a River, McGahan’s third book, combines eloquent descriptions of nature, vivid artistic philosophies, and serene paintings of grazing buffalo in mountainous landscapes with a complicated romance that spans almost the entire novel. There is a Zen-like quality that carries over from page to page, inviting the reader to see art, nature, and relationships as more than just ordinary aspects of one’s life. But between the lovely portraits of wild North-West America, McGahan addresses the similarities between art, humanity, and the spirit of nature; although our pride as humans is to live and govern above the rest of the animal kingdom through reason and emotions, at our base nature we rely on the same instinctual tendencies as our hoofed and feathery counterparts. And even though we might consider ourselves beings of intellectual and artistic ability, it is difficult to push aside the lingering traces of animal ancestry along with the need to break free from societal restraints.

The path to happiness can be crooked and twisted with daunting barriers along the way. In Vanessa MacLellan’s debut novel, Three Great Lies, the key characters seek their own forms of happiness – only attainable when they recognize the truth about themselves.

MacLellan sets her tale in Egypt. Her bored and self-absorbed protagonist, Jeannette, decides to trust a local teenaged boy, to show her a newly opened tomb with no tourists. She survives a harrowing ride in a motorcycle sidecar to arrive at the site. Like Alice before her, she soon finds herself tumbling down the rabbit hole. Jeannette awakens from the fall and learns she is still in Egypt, but Egypt from 3,000 years ago.

In his debut novel without anesthesia, Pedram Navab is able to construct a narrative with an intense urgency to connect plot lines and make meaning of his characters' obsessive practices to claim identity. The multi-genre narrative is structured with three major threads: Adrien, a doctor who falls in love with a cadaver; Tess, a med student desperate to connect with her patients and become the best doctor she can be; and a failing actor who desperately seeks an audience. While these threads interweave creating a cohesive story, a narrative in the background reveals itself as a symbol of each character’s identity struggles.

In terms of gritty, disturbing realism, Grand Theft Auto has nothing on The Book of Aron. Told in the straightforward voice of a child who understands harshness and guilt from the earliest age, The Book of Aron gives an unflinching view of life in the Warsaw Ghetto as well as what it was like to be a child of deep poverty in the years before childhood was deemed a special and protected space. It is a tale of modernization and industrialization as well as a Holocaust tale.

Novelist Jim Shephard tells the true story of Janusz Korczak, a Jewish-Polish doctor and educator who is heroic both for his revolutionary ideas of treating children with respect and dignity as well as for the work he did running an orphanage in the Warsaw Ghetto, but he filters it through the eyes of one of the children he helped. When Shephard found Aron’s voice, a voice which has the cadence of a Yiddish curse, he found a way to tell a hero’s story while insisting the hero was quite fallible and quite human.