The Kingdom of Sand

Starred review from April 11, 2022
The geographical and emotional landscape of contemporary rural Florida is at the core of this majestic and wistful rumination on ageing, loneliness, and mortality from Holleran (Dancer from the Dance). The 60-something unnamed narrator strives to hold onto a long, lingering friendship with Earl, who’s 20 years older, and reflects with bittersweetness on losses, past loves, and the indulgences of desire and lust. (His melancholy excursions include cruising a video arcade and a boat ramp in nearby Gainesville, places he’s visited for the past couple of decades.) Earl is a retired accountant and widower, and their common interests­­—books, music, “fine furniture,” picking blueberries—have bound them through the years as they remember friends of theirs who have died from AIDS and the narrator cared for his ailing parents. He thinks of their friendship as a “bucolic dream,” the “perfect combination of solitude and companionship.” The specter of death feels to the narrator “like a game of musical chairs... when the music stops you have to sit down wherever you are.” Though the novel is permeated by a mournful depression, Holleran brings stylistic flourishes and mordant nostalgia to the proceedings, and fully develops the narrator, who floats elegantly on his distilled memories and eventually lands on a beautiful resolution. This vital work shows Holleran at the top of his game.