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Kind One, by Laird Hunt
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"There is always a surprise in the voice and in the heart of Laird Hunt's stories, with its echoes of habit caught in a timeless dialect, so we see the world he gives us as if new. 'You hear something like that and it walks out the door with you.'"--Michael Ondaatje
"Laird Hunt's Kind One, about two slave girls who take their white mistress into captivity, is a profound meditation on the sexual and racial subconscious of America. . . . [A] gorgeous and terrifying novel."--Danzy Senna
As a teenage girl, Ginny marries Linus Lancaster, her mother's second cousin, and moves to his Kentucky pig farm "ninety miles from nowhere." In the shadows of the lush Kentucky landscape, Ginny discovers the empty promises of Linus' "paradise"--a place where the charms of her husband fall away to reveal a troubled man and cruel slave owner. Ginny befriends the young slaves Cleome and Zinnia who work at the farm--until Linus' attentions turn to them, and she finds herself torn between her husband and only companions. The events that follow Linus' death change all three women for life. Haunting, chilling, and suspenseful, Kind One is a powerful tale of redemption and human endurance in antebellum America.
Laird Hunt is the author of several works of fiction and a finalist for the 2010 PEN Center USA Award in Fiction. Currently on the faculty of the University of Denver's creative writing program, he and his wife, the poet Eleni Sikelianos, live in Boulder, Colorado, with their daughter, Eva Grace.
- Sales Rank: #717968 in eBooks
- Published on: 2012-09-13
- Released on: 2012-09-13
- Format: Kindle eBook
Review
"This compact but reverberant 19th-century tale tracks a circle of hard-luck souls whose collective tears could fill a dry well . . . Hunt passes the narration among the principle characters in woozily nonlinear fashion, lending a range of textures to this antebellum melodrama."—The New York Times Book Review "Fiction Chronicle"
"[Kind One] contains the sort of story that needs to be experienced directly . . . you should get a hold of a copy and read it for yourself as soon as you can."—Andrew Wille
"There is always a surprise in the voice and in the heart of Laird Hunt’s stories—with its echoes of habit caught in a timeless dialect, so we see the world he gives us as if new. 'You hear something like that and it walks out the door with you.'" —Michael Ondaatje
"[I]t is as devastating a piece of writing as anything one is likely to find in contemporary literature.”—Contemporary Review of Fiction
"Laird Hunt's Kind One, about two slave girls who take their white mistress into captivity, is a profound meditation on the sexual and racial subconscious of America. Nothing is sacred here. Savagery begets savagery. Women commit unspeakable violence, wives are complicit in their husband's crimes, slave girls learn to be as cold and brutal as the masters who have raped and whipped them. Of course the center cannot hold. We watch it crumble with breath held, skin tingling, in this gorgeous and terrifying novel." —Danzy Senna, author of Caucasia
"Opening with a prologue in the form of an extraordinarily beautiful meditation on loss, Hunt's writing deepens into allegory, symbolism and metaphor, all while spinning forth a dark tale of abuse, incest and corruption reminiscent of Faulkner . . . Profoundly imaginative, strikingly original, deeply moving." —Kirkus, starred review
"[A]n unforgettable tale of the savagery of antebellum America . . . Hunt deftly maintains an unsettling tone and a compelling narrative that will linger with readers long after the last page." —Publishers Weekly
"In Laird Hunt's Kind One, he provocatively examines the complicity of white women in the shame of slavery. . . . The novel reveals how slavery was so pernicious as to make criminals of everyone who owned slaves, and how redemption is rarely a neatly contained process."—Refinery 29
"Hunt is being recognized for his 2012 novel Kind One, a rich, piercing novel that follows the profoundly complex and difficult life of young slaves in antebellum Kentucky."—Denver Post
"Laird Hunt’s Kind One provides readers with a view of a 19th-century dysfunctional family — and it makes anything you see on reality TV look tame." —South Bend Tribune
"[A] study in the perpetuation of violence, the lasting impact of abuse, the damage subjugation can inflict on the individual and society, and the potential for redemption through forgiveness."—ForeWord
"Hunt has an ear for dialect, and the story itself reads like Faulkner mixed with Raymond Carver, while remaining recognizably Hunt's own. The reckonings that Hunt's characters face, as they do in so many of his novels, will reverberate in the reader's memory long after Kind One."—Shelf Awareness
"Laird Hunt's Kind One is a mesmerizing novel of sin and expiation that plumbs the depths of human depravity and despair, yet hints at the possibility of redemption . . . [O]ne that will resonate long after you turn its last page."—Minneapolis Star Tribune
"Kind One is an inventive and purposefully complicated novel, a novel that twists and dives in and out of and through time and the lives of these men and women, a novel that is both a ghostly tribute to and an indemnification of what went before. Laird Hunt has written a masterpiece of haunt, a balanced and jarring book that takes all we know of the south, down to its most innocent elements, down even to the daisies of the fields, and creates their scarred histories anew."—The Rumpus
"In taut, hypnotic chapters that loop forward and back in time, Hunt interweaves dreams, African folktales and elements of Shakespeare to deliver half-seen glimpses of the past, narrated by Ginny and several characters whose lives have intersected in the past."—Atlanta Journal-Constitution, Fall Books Round-up
"Laird Hunt's novel Kind One is as powerful and dark a novel I have read all year, a book as exquisitely written as it is haunting."—Largehearted Boy
"As I read the book, I found myself frequently having to pause after passages—some gruesome, some hinting at gruesomeness—to catch my breath . . . Hunt's lovely prose shines a light into some very dark places."—The Cedar Rapids Gazette
"This is a story of reckoning and redemption and Kind One is told so artfully and so uniquely that the novel is well worth the read."—The Rumpus, Roxanne Gay's Reading Roundup
"Kind One is a major achievement for Hunt. . . in its study of the perpetuation of violence, it calls to mind Faulkner's structures by way of Albert Camus and the dark dreamscapes of Jean Cocteau."—Cleveland Plain Dealer
"[Kind One is] Laird Hunt's haunting meditation on the crushing legacy of slavery in the American South . . . Yet the book's small acts of kindness and mercy—bright beacons in the night—never go out, shining their faint light on the endurance of the human spirit."—Atlanta Journal-Constitution
"[W]hat puts Kind One firmly in the category of good Southern writing . . . is its quietly gripping language. Hunt is a writer who, to steal a phrase from Allan Gurganus, is 'still loyal at the level of the sentence.'"—Oxford American
"[Kind One is] minimal, immersive, and utterly compelling. Hunt never lets the reader get distracted or lets the intensity become diffused. For the real subject here is violence—violence that manifests itself as a Lear-like rage against Life itself."—Vertigo
"If you like beautiful sentences, you'll probably enjoy Kind One." —The Stranger
"Laird Hunt's fiction lends an ominous tint to the familiar . . . [his] penchant for the ambiguous, the divergent, and the unsettling can flourish when rooted in American history."—Los Angeles Review of Books, "Post Pulp Spaces: On Laird Hunt" by Tobias Carroll
"[I]n Hunt's detailed characters and prose (so beautiful as to seem otherworldly), the many folds of human relationships unravel, turn back on themselves, make new shapes, and tell of the bonds, tainted or not, all travelers eventually form while on their ways."—Books Matter
"In Laird Hunt's provocative new novel Kind One . . . [Hunt] managed to create a novel that upends what we expect from slavery narratives."—Bookforum, Roxane Gay interview with Hunt
"Laird Hunt is one of the more criminally overlooked novelists writing today, and this is probably the most accessible and completely realized of his books."—Time Out New York, "Best (and worst) books of 2012"
"The voices that gradually reveal the story—of the naive girl who collaborates with her brutal husband—are by turn lyrical and savage, piecing together a nuanced exploration of guilt and forgiveness."—The Atlanta Journal-Constitution, "A Year in Reading: The best of the South in 2012"
"Slavery in the South seems like an exhausted subject, but Laird Hunt's Kind One feels fresh."—Green Mountain Review
"An investigation into a dark corner of history, a narrative that splinters and echoes, a structure at once fabular and recursive: all lead us into Laird Hunt's novel Kind One. Hunt's exploration of slavery in the U.S. . . . involves inevitable deconstructions of identity and power, revealing the ways in which each engenders the other in a construction we call history."—Quarterly West
“I read Kind One for the first time last November, and when I finished, I was sure of three things: it was a book to read again and again, Hunt was a name I’d scan for in bookstores, and Kind One could be the basis of a fine film.”—The Quarterly Conversation
“‘It is risky,’ Hunt says, ‘A white man, writing the story of a white woman, embroiled in the world of slavery.’ It is perhaps for just that reason that the Boulder author's latest is worth picking up.”—5280, The Denver Magazine
“Hunt’s skill as a storyteller is staggering. . . . His is some of the most haunting and versatile American work being written today.”—Something on Paper
"The menace never lets up in this page-turner of a literary novel. . . . I read this book in one sitting, and was left feeling as though I had been swept under in the river of this country’s racial history. It has the feel of a classic—something that will be read in history or English classes for years to come, a book that inspires interpretation and reflection. Recommended."—Historical Novel Society
"[Kind One] soars because of Hunt's intensely human characters which are displayed with complex compassion. The hands which are heavy may change over time, as may the victims, but pain and guilt, and, more precisely, the residual effects of pain and guilt, do not."—The Small Press Book Review
“Hunt has written an extraordinary work. Kind One plumbs the dark depths and shimmering reaches of spirit through a tapestry of voices with such subtle power that you won’t realize how deeply this novel has gotten inside you until it’s too late. It will haunt you for the rest of your life.”—Mixer Publishing
"I had an intense emotional response to this novel . . . [M]y attention was enchanted by Hunt's image-rich language."—TriQuarterly
About the Author
Laird Hunt is the author of four novels, The Impossibly, Indiana, Indiana, The Exquisite, and Ray of the Star, and a book of short stories, histories, and parables, The Paris Stories. His writings, reviews and translations have appeared in McSweeney’s, Ploughshares, Bomb, Bookforum, Grand Street, The Believer, Fence, Conjunctions, Brick, Mentor, Inculte, and Zoum Zoum. Currently on faculty in the University of Denver’s Creative Writing Program, he and his wife, the poet Eleni Sikelianos, live in Boulder, Colorado, with their daughter, Eva Grace.
Most helpful customer reviews
4 of 4 people found the following review helpful.
Compelling, dark, and beautiful
By val killpack
Laird Hunt explores themes of race and slavery, their consequences of abuse and violence, as well as questions of sexuality and incest. The novel tells these cogent tales with beautiful, dark imagery, fully-rounded characters, compelling action, and vivid descriptions. All this in two hundred pages. This deeply-provocative work probes these issues sometimes through allegory and symbolism and sometimes explicitly, or it could be said, through good-old-fashioned storytelling. The narrative jumps around in time, and at first this felt confusing, but then fell into place as the story filled in. Most of the narrative is told from the point of view of Ginny, but Hunt bookends these ten chapters with short pieces from the perspective of other characters, all told in an immediate, first-person voice. The overall effect lingers and haunts. This story seems to represent not just the lives of the few people portrayed, but a larger underbelly of America in the nineteenth and early-twentieth centuries. Powerful enough to feel instantly like a timeless classic, this book deserves a thorough investigation. As page turning as it is difficult, Kind One is a pleasure to read.
4 of 4 people found the following review helpful.
Spare, graphic and authentic
By kcuf uoy
I read Kind One after reading a review in the Atlanta Journal Constitution. I was intrigued and ordered it on Kindle and read in two sittings. The story of an antebellum family - husband, wife, three slaves - is told from multiple perspective, over a hundred year period. Though use of dialogue, character and bits of magic, it paints a spare, searing portrait of what American slavery turned even decent Americans into. There is violence and great pain, but such is the skill of the author that the bestial never overwhelms the reader. I'd compare book to Property, by Valerie Martin, though Kind One's multiple race perspective give a broader vision. There are moments of grace, too, and moments of kindness. Highly recommended.
1 of 1 people found the following review helpful.
The War to End Slavery -- within a single haunted household.
By John Domini
Laird Hunt has shown a fondness for fictional experiment & he has something of an expat’s background — lots of time abroad & fluency in French — but for his breakthrough as a novelist he’s come to rock-ribbed Americana. Indeed, he’s gone back in time, reimagining the Civil War as a deeply dysfunctional, mixed-race Border State household. That War & its core challenge, to recreate the nation without slavery, looms over the masterful KIND ONE, yet you’ll find no armies, no battlefield. Battles here take place in the bedroom, the kitchen, & especially in head & heart. Sentences go for marvelous off-kilter physicality, distracting us with details that wink or smear, distracting in the best sense, until out of some unexpected corner we get, say, the “gristle” of a knife plunging into flesh & bone. I dare any reader to take a careless drink of water after reading the prologue, the story of an accident at a well. Following that trauma, the primary narrator Ginny comes first as welcome relief; a teenager through much of the drama, her opening reminiscences glimmer w/ wit & joy. But then there’s Ginny’s Svengali, her seducer & husband Linus Lancaster. The catalysts of the novel’s mounting shocks, though, may be the slave girls Cleome & Zinnia, working Lancaster’s false “paradise” of a pig farm. On this Kentucky farm the developing tensions have a terrible familiarity. We know all too well Ginny’s breakdown, rooted in disappointment & intimidation, & recognize too how she festers to the point of taking out her pain on those less powerful: on the slaves. Cleome & Zinnia work as personalities, too, though; they’re not mere punching bags. The later, most intense turns of the plot hinge on whether either of these girls — former slaves all of a sudden, & by means of a mystery that hangs over most of the rest of the book — whether either will prove the “kind one.” As for Linus, by comparison, he can come off as oversimple, either browbeating someone or, with whip in hand, delivering the actual thing. The master has his troubles, though, his failures; we can whiff the same curdled hopes in him as in Ginny. Besides, what’s wrong with a larger-than-life villain? What’s wrong with an unforgettable scene of whipping an innocent young man to death? The victim in that case is farm’s lone male slave, a soft-smiling type whose perverse turns on Uncle Remus stories offer respite to the women & the reader alike. So too, this stunning reinvention of the historical novel can work like a balm on all the suffering it shows. One of the final narrators is a black freedman named Prosper, & after the war he comes back down to what used to be Dixie & so achieves a moving connection across the lost & the dead, maybe enough to begin the repairs on this house torn asunder
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