There may never be justice for the crimes committed by family. Most often there is no court to challenge a family’s denial of any number or nature of transgressions. And when the victim is rendered silent, as Foy’s loquacious narrator feels, by this non-admission and history can go on being written by the aggressor, the winner, what then?
Ugh. The sermons from Kiersten. The sermons. It gives you untold happiness to see her down there in the zombie hordes, animated entirely by her brain cravings.
There would never be any room for you in this world.
Only in our legends would we allow you to dwell.
The entries are vulnerable, funny, and present a true to life mindset of a woman in her early twenties: A woman who deals with heartbreak, growing up, death, jobs, and the perils of a mouse-infested house.
Seeing forever didn’t quell my agitation. It was hard not to think about flames and smoke, to imagine the feeling of being hopelessly far from the street below, and then to feel all the dimensions of the room you’re in give way at once, and for what—to hold down a job, to look out over the Hudson? It wasn’t a good death. I watched the planes banking northeast out of Newark, or crossing midtown on their way into LaGuardia, as if my vigilance would do a damn thing for me or for anyone.
Dana Cann has crafted three intricately twined narratives about people whose shared sense of grief brings them together and tears them apart, allowing the reader with an almost voyeuristic look at the coping methods of three very different, very damaged people.
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