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Book Review

Inside V

by on May 16, 2017

Inside V, by Paula Priamos


Death. Taxes. The onslaught of summer. With the turn of June, Los Angeles is assailed with super-heated layers of plasma-smog, anginaiac freeways, and Angelyne sightings. The rituals begin, paramount being the stuffing of beach bags with tubes of SPF 90 and first aid kits. Don’t forget to pack a couple of summer reads – you know, those paperbacks you can casually flip through in about the time it takes to get sun-blistered, but not feel totally ashamed about toting. Inside V, Paula Priamos’ first novel, is one such book. Its brisk pacing, hooky chapters, and Los Angeles setting make for a noirish wedge to stuff between beach towels and a damp bathing suit.

Inside V belongs to that most Los Angeles of genres, the detective thriller linked inextricably to the city itself. This genre, which I’ll refer to as Sunshine Noir, originated in Chandler’s hard-boiled classics, and goes strong today, as evidenced in Michael Connely’s architectonic potboilers and James’ Ellroy’s pugilistic historiographic meta-fiction, to say nothing of the endless film iterations (picture Jack Nicholson with a band-aid on his nose). What makes Inside V stand apart from its Sunshine Noir cousins, is Priamos’ gentle shunning of certain genre expectations. Not only is Priamos’ narrator, a former defense lawyer named Ava (or “V” to her dashing husband, Grant), not a detective, but Ava’s conflict is overwhelmingly internal – hence the title. To achieve this, Priamos dials back the physical violence inherent in Sunshine Noir and channels the strife internally, into a cognized landscape of deceit, mistrust, and manipulation. Not only does Inside V eschew genre norms by privileging interiority, but the book departs from the phallic gaze of these male-dominated thrillers by focalizing through a female protagonist. While Ava is certainly not the first female-narrator in Sunshine Noir, this is still a rare enough conceit to give the book a certain charm.

(Here I feel compelled to insert a slight disclaimer: in spite of the aforementioned genre about-faces, the ending of the book does, in some respects, retreat to norms. I won’t spoil anything, but apparently blood must be spilled, though here we can measure it in droplets instead of buckets.)

Inside V opens with Ava’s husband, the almost comically sexy Grant, being prosecuted for statutory rape. While Grant vehemently denies any indiscretion against the teen-aged Latina in question, he seems resigned to a prison sentence given mounting and damning evidence. Meanwhile, Ava wears a stoic smile to her husband’s court hearings, hoping her nightmare will soon end. From the start, Ava wavers about Grant’s culpability; while at first she wills herself to believe her husband’s innocence, soon the rape-victim’s testimony has Ava second-guessing. This pendulum between Grant’s guilt and innocence swings throughout the book, both for Ava and the reader, and this is where Inside V shines. Priamos masterfully balances a series of enigmas, parsing out information and characters like carefully laid breadcrumbs. Just when Ava feels certain about Grant, Priamos adds a new wrinkle. Sustaining mystery in this way carries with it the risk of twists and red herrings over-complicating the story to a comical degree; however, Priamos’ twists are embedded in small, almost mundane details – a forgotten wallet, a suspicious pharmacist. Rather than feel contrived, the shifting mystery acts instead to amplify Ava’s character as she devolves into a nearly unreliable narrator.

All of this takes place on a road trip of sorts in which Priamos revels in the most Los Angeles of locations, from Jerry’s Deli, to Trader Joe’s, to Monty’s Steak House, and to a Palm Springs resort that stands-in for any of a variety of the desert oasis’s mid-century modern hotels. (On a side-note: the book does leave Southern California for a minute, though it says a lot that this is the weakest section of the novel.) Road trips provide opportunities for deep thinking, and Ava goes deep, particularly into her past. This interior journey evokes powerful memories of envy, jealously, and betrayal that problematize relationships, and layers the book’s Sunshine Noir trappings in a gauze of reflection. Along the way, Ava takes stock of her life, assessing her flaws, weaknesses, and mistakes as a way of determining the ultimate mystery of the book, whether or not she should stay with Grant.

Taken as a whole, Inside V can be read both a mystery and a study of jealousy taken to its grim extremes. Yet, in spite of a hearty dose of dark themes, Inside V‘s brisk prose and day-tripping narrative avoid the typically nerve-wracking tension of its grimmer cousins. Instead, Priamos provides us with an appetizing slice of mystery and allure, a perfect palliative for a third degree sunburn. Better yet, by working against genre, Priamos has achieved the rarest feat of all: she has written a Sunshine Noir protagonist that is, against all odds, relatable.


Inside V is available now through Rare Bird Books.


Kirk Sever’s writing has appeared in Colorado Review, Unbroken Journal, Rain Taxi, Bird’s Thumb, and elsewhere. Additionally, Kirk’s work has earned him runner-up status in both the Academy of American Poets George M. Dillon Memorial Aware and the Northridge Fiction Award. He currently teaches writing at California State University at Northridge.

Book Review


by on October 19, 2016

downloadReel, by Tobias Carroll


Tobias Carroll’s Reel is a fascinating observation on interconnectedness, cause and effect, and the absurdity of the arbitrary values we imbue upon moments of our lives.

This novel shows a penchant for defying prediction.  Its plot is cleverly arranged such that there are teasing moments where the reader is encouraged to guess at what might come next, only for those guesses to prove completely wrong.  This is not a case of twists for the sake of twists; rather, the sequences of events play out as the lives of two people would, unexpected because real lives are just that.  Despite the connective bookends at the beginning and end of the novel, there is a consistent rejection of storytelling conventions that never calls attention to itself and therefore avoids causing the story to stumble.  Red herrings are raised again and again (one in particular would make Chekhov roll in his grave), but even calling them “red herrings” is problematic, because they are more akin to the details that two obsessive, meaning-driven people like the protagonists would consistently take note of.  We as readers immediately attach meaning and have to confront the fact that any disappointment in the lack of significance for those elements is both our fault and misplaced.  In this, Reel serves as a meta-commentary on art and its consumption, beyond the surface layer the protagonists’ employment.  The novel highlights the subjectivity of experience and how easily such experiences can be manipulated or even randomly and irrevocably altered.

While nothing happens in the novel that would easily fit under the definition of absurdist, it still leaves such a taste in the mouth, which leaves considerable food for thought.  The sequence of the plot plays out in what I can best describe as a romantic comedy in reverse, where the fated meeting of the protagonists occurs early and the story ends with an unexpected, almost deus-worthy connection.  The effect of this is powerful in how it asks the reader to look beyond quick impressions and dismissive leaps to presumptive conclusions.  In its own way, it subtly shows the consequences of not exploring the truth depth in people and how that lack of curiosity and engagement engenders feelings of isolation and stagnation.  At yet, despite that, the characters of the novel are profoundly affected by their interaction, even when that interaction is brief and unpleasant.  Imagine how often your mind discards other people from its memory, even those who momentarily frustrate or obstruct you.  In a true hallmark of quality storytelling, Reel highlights the potential of imagining people complexly, and without being preachy about it.

One moment of particular note is the catalyst for the story’s action.  Early on, Timon, one of the protagonists, attempts to start something like a mosh pit, though his efforts to make it inclusive are highly suspect, and he ends up alone, thrashing and wantonly impacting people for what is probably close to half an hour.  The moment is beautifully symbolic for reasons that will become apparent when you read Reel, but for me, by the end of the novel, one idea inspired by that moment stuck out from the rest.  There is, I think, a subtle class commentary underpinning much of this novel.  We the readers are essentially presented with the effects of boredom and how it drives so much of what those of the middle and upper classes do.  Timon in particular, while acutely aware of his depression and dissatisfaction, seems curiously oblivious to his privilege, especially and most immediately with regards to the fact that he has a wealthy family to react against in the first place.  This is not to take away from very real fear of being coerced into becoming something he does not want to be, but his one man mosh pits still resonate with the idea that his struggle is as much a form of acting out as it is any real expression.  In this, I think Carroll’s work is much more self-aware than other books that have societal disillusionment as a theme, such as Chuck Palahniuk’s Fight Club.  Timon might not feel the significance of receiving wads of twenties for lunch with his grandfather, but the reader definitely does.

I think the last word should go to Marianne, the novel’s other protagonist.  She is a woman of displacement, or perhaps it is better to say that she is a woman of repeated placement.  If Timon represents a locus of indecisiveness, then Marianne is a commitment to action.  She and Timon are very similar in many ways, especially concerning their mutual uncertainty and their talent for over-analysis, but Marianne possesses a strength that I think the novel is suggesting would do many people like her some good.  She makes decisions for her own reasons, even if she deeply questions those decisions and reasons, rather than allowing herself to be dragged along for the ride and submitting what little control she has.  There are, of course, unintended consequences to this, and she is no less guilty of presumptiveness than Timon, but the same could be said of anyone and anyone’s actions.

Overall, Reel is both an easy read and a deeply philosophical book, which is no meager feat.  It leaves you wanting to consider other people in more substantial ways, if for no other reason that you understand wanting to be treated as a person with depth.


Reel is available now through Rare Bird Books.