MATRIMONY is a book to savor slowly, to read a little and then stop and consider what you've read and to make inevitable connections of your own. Because Joshua Henkin has somehow managed to tap into the mainstream consciousness of what it was to be young and then suddenly not-so-young back in the 80s and 90s. And yet his characters are unique, memorable and all their own. Henkin has figured out how to combine Everyman and his own particular voices or characters, represented here by Julian Wainwright and alternately, his wife, Mia Mendelsohn. Granted, these two main voices may seem to come from lives of comparative wealth and privilege, but their hopes and dreams, fears and disappointments, heartbreaks and joys are universal.

I especially enjoyed the various academic settings, shifting from Ivy League (the fictional Graymont College) to Big Ten (U of M in Ann Arbor) to the Iowa corfields (the Iowa Writers Workshop). Henkin provided plenty of satisfying and authentic details and description, particularly with the two latter campuses. In the Iowa section, Henkin also quite perfectly describes his own writing style, in a passage on a story Julian was working on -

"The story was quiet; all his work was. Perhaps it was a matter of differing aesthetics. There had emerged in American fiction a strain of excess, he believed, a group of knowing authors whose every sentence seemed to shout, 'Look how smart I am.' He had nothing against muscular prose; it was the flexing of those muscles he objected to, and along with it a disregard for character, which, for him, was what fiction was about."

A quiet kind of fiction with emphasis on character - that's what Joshua Henkin writes, as exemplified both here, in MATRIMONY, and also in his wonderful debut novel, SWIMMING ACROSS THE HUDSON.

I was reminded of other novels of academia I've read in the past. They may not have a lot in common, but I'm going to list a few anyway. Philip Roth's early novel, LETTING GO, has always been a particular favorite of mine. So have John Irving's THE WATER METHOD MAN, Marge Piercy's SMALL CHANGES, John Williams's STONER, and Larry McMurtry's MOVING ON and TERMS OF ENDEARMENT. What is the biggest difference between those novels and MATRIMONY is the sweetness Joshua Henkin brings to his stories. He is not afraid to let his feminine side and sensibilities show, as in his description of Mia's fears over a lump she finds in her breast and in his treatment of the whole concept of gene-related breast cancer.

As was true of his first novel, MATRIMONY is a book about love. This time love is examined in the context of marriage, with all its ups and downs. And not just in Julian and Mia's marriage, but in those of their parents - both sets - and their friend Carter. Henkin treads softly and carefully in these areas, and in so doing he has created a story that is both complex and simple all at the same time. Discerning readers will come to care about Julian and Mia, and probably see a bit of themselves in them. I may have said the same thing about SWIMMING ACROSS THE HUDSON, but what the hell, I'll say it again. I loved this book. - Tim Bazzett, author of the memoir BOOKLOVER

The jacket copy for BUFFALO LOCKJAW states, "James Fitzroy isn't doing so well." I disagree. I think James is doing damn well under the circumstances. His mother is slowly dying from Alzheimers, and at far too young an age. He's still trying to connect with his emotionally distant father, the absolute personification of that title syndrome. Because Rodney Fitzroy isn't maintaining just that proverbial stiff upper lip in the face of his wife's long slow dying, he's got the lockjaw thing down too.

Protagonist James, at 28 a part of that so-called 'slacker' generation, is perhaps a bit slow to mature like so many of his contemporaries, but at least he did manage to get out of Buffalo (out of the shadow of his over-achieving sister) and find a job. Writing verses and captions in the "Laffs" department of a greeting card company may not be the best of careers. Hell, maybe it's not a career at all, but at least he has a steady job, which is more than most of his toked-up beer-swilling Buffalo buddies can say.

But at the very heart of BUFFALO LOCKJAW is the strong love that James feels for his dying mother, who was a career nurse who loved and believed in her work. It is breaking James's heart to watch her recede into the emptiness of Alzheimers, and in his desperation and love, he studies the possibility of some kind of intervention, reading about assisted suicide and euthanasia.

The odd thing about this book is that despite such a serious and unfunny subject, Ames manages to inject a lot of humor into his first-person narrative. It is, I think, the mark of a very talented writer who can make his reader belly laugh and then nearly weep within the space of a page or two. Greg Ames is that kind of a talent, and he manages to do this repeatedly. So what do you call a book like this? Tragic? Yes. Funny? Yes again. Because this is the tale of a deep-thinking slacker, one with a heart and a soul. I guess I'll just have to call this book beautiful. I will be watching for Greg Ames's next effort. This guy can WRITE! - Tim Bazzett, author of the memoir BOOKLOVER

Benjamin Busch's memoir, DUST TO DUST, is a piece of work that is at once puzzling and moving. Puzzling because I wondered how a Vassar graduate who had majored in studio art could seem so easily conversant about things like soil and stone, metal and water, ash and bone - things one would normally associate with earth sciences, geology or archaeology. And moving because, by using these elements as primary symbols and vehicles for telling his life story, he touches too on the pain of extended family separations, injuries and wounds, loss of comrades-in-arms and loved ones, and the grief and hard-won wisdom that follow.

Busch tells his tale in a spiraling, circular narrative, which jumps from his solitary childhood enterprises and adventures to his war-time service as a Marine officer in Iraq, then back to that childhood in upstate New York and Maine. He tells too of his college years, interspersed with more tales of his military training in Virginia, North Carolina and California, his deployments to Ukraine and Korea, and trips as a child and young man to England. What emerges is a portrait of a boy and a man with a boundless curiosity about the world he inhabits and how he fits into it. His whole life Busch has struggled against rules and expectations, endlessly experimenting and daring to be different. The son of a novelist (Frederick Busch) father and librarian mother, Busch grew up with a healthy respect for books, but was drawn more to exploring the forests, fields and streams that surrounded their rural home, building walls, forts and bridges in a childhood marked by an extraordinary unstructured freedom foreign to today's children. Busch's description of his childhood explorations and wanderings made me think of Cooper, and the child Ben Busch as a kind of half-size Natty Bumppo -

"The forest spread undisturbed and beyond measure, and I felt like I had found a place before maps. I drew my own map of the forest, without a compass, and gave names to the terrain. It was a kind of storytelling."

Busch continues describing this forest, this "place before maps," until he reaches a point he proclaimed "the center of the forest," and comments, "Reading ROBINSON CRUSOE here would be different from reading it in a room." There, of course, is that inescapable influence of his more cautious, book-ish parents.

Although both of Ben's grandfathers had served in WWII, his parents were shocked when Ben joined the Marines out of Vassar. He was, in fact, the very first Marine officer candidate to come from Vassar, which his boot camp commander called a "girls' school." Busch had the ill-advised temerity to correct the officer, saying, as his many female classmates had taught him, that it was a "women's college, sir." (In fact, Vassar has ben co-educational since 1969.)

There is no hint of braggadocio or macho chest-thumping to be found anywhere in Busch's accounts of his service in Iraq. In tellingly terse terms, he describes being ambushed, of rushing his wounded men to aid stations, of holding the hand of a too-young man, bleeding out and in shock, asking, "What is happening to me?" Busch doesn't have an answer. He goes outside into the dark and washes the man's blood from his hand. In another incident he tells of how he and a captain friend break the tension of a dangerous patrol by trading remembered absurd dialogue about being "in great peril" from MONTY PYTHON AND THE HOLY GRAIL. Moments later the captain was dead from an IED explosion. Feeling powerless, in a letter home, Busch reviews the Rules of Engagement -

"Positive identification of a threat is required before you can fire. Reasonable certainty ... You are not sure, in the shimmering imagination of night vision equipment, if you see something moving. It can't be positively identified. You are holding your fire. You are holding your position ..."

He reflects on how the "purity of service had been corrupted by the moral ambiguity of political language." Like most servicemen deployed to Iraq, Busch suffered concussions from bomb blasts, a daily hazard a medical surgeon shrugs off as "typical." Besides telling of his own time in Iraq, Bush also touches on the agony of waiting suffered by his parents during his two tours there. His father, in a piece written for HARPER'S, commented on how he and his wife, both in their mid-sixties, ticked off each successive day of Ben's time there, adding, "Perhaps we feel that by slicing another day off our lives, as we wish it away to bring him home, we are spending our lives to buy his."

This is a serious memoir, no mistake. But there is humor here too, as in Busch's description of his first brush with acting at the age of seven, when he dies dramatically by falling noisily backward off a school stage, a feat which caused a collective gasp from cast and audience alike. Years later, out of the Corps, his first two acting jobs are, ironically, as a corpse on a morgue table, and a murder victim lying in a pool of blood on a freezing Baltimore street. His roles have gotten better since then.

As a child growing up in the Catholic Church, I can still remember the priest's words every Ash Wednesday when he smudged the ashes onto my forehead, "Remember, man, that thou art dust, and unto dust thou shalt return." Benjamin Busch, in one of his returns to his childhood endeavors, tells of a stone fort he built as a boy and the pleasure he took in simply sitting inside it, saying he wanted to live in it. But he could "also imagine being buried in it. It was my work, this crypt built of stone, intended for perpetuity like any grave. All anyone would need to do would be to lay me inside and fill it in." These kinds of thoughts may seem foreign and dismal to some, but not Busch, who also says: "There is something to be said about being dust. It is where we're all headed."

DUST TO DUST is a work of art unto itself, a memoir unique, troubling and magical. I will not soon forget it.

- Tim Bazzett, author of the memoir, BOOKLOVER