An American literary take on the Nordic noir genre

Unfolding during the moody Pacific Northwest winter of 1951, we follow Bernadette Baston, scholar of child development and language acquisition, as she travels to a penitentiary on the remote island Elita in the Puget Sound to consult on a curious case: two guards have discovered an animal-like adolescent girl living alone in the cold woods beyond the prison’s walls. There are few answers, but many people who know more than they are saying. According to official reports, the girl, dubbed Atalanta, does not speak. Is her silence protecting someone? The prison warden, court-appointed guardian, and police detective embroil Bernadette in resolving a secret that the tight-knit island community has long held, and her investment in the girl’s case soon becomes more personal than professional. As a mother, wife, and woman bound by mid-twentieth-century expectations, Bernadette strategizes to retain the fragile control she has over her own freedom, identity, and future, which becomes inextricably tied to solving Atalanta’s case.

For those who care about literature or simply love a good laugh (or both), Charles Portis has long been one of America’s most admired novelists. His 1968 novel True Grit is fixed in the contemporary canon, and four more have been hailed as comic masterpieces. For the first time, his other writings—journalism, travel stories, short fiction, memoir, and even a play—were brought together in Escape Velocity: A Charles Portis Miscellany, published in 2012 as his first new book in more than twenty years. This revised edition includes a new afterword by best-selling author Donna Tartt, who first published her remembrance in the New York Times following Portis’s death in 2020.

All the familiar Portis elements are in this collection: picaresque adventures, deadpan humor, an expert eye for detail and keen ear for the spoken word, and encounters with oddball characters both real and imagined. The collection encompasses the breadth of his fifty-year writing career, from his gripping reportage of the civil rights movement for the New York Herald Tribune to a comic short story about the demise of journalism in the twenty-first century. His three-act play, Delray’s New Moon, was performed onstage in 1996 and published in Escape Velocity for the first time.

Whether this is your first journey to the world of Portis or a long-awaited return to it, you’ll agree with critic Ron Rosenbaum—whose essay appears here alongside tributes by other writers—that Portis “will come to be regarded as the author of classics on the order of a twentieth-century Mark Twain, a writer who captures the soul of America.”