Gross’s lively debut takes a dip into the chaos of 1970s New York, when “those twin evils, inflation and depression, worked their ever-nastier magic on the streets” and the papers’ “daily dose of robbery, rape, rioting, arson, assassination, suicide, infanticide, and homicide” is enough to jolt East Village news-junkie Eliot from his habit. In Gross’s vivid imagining, the city’s last flicker of hope hinges on its World Series-bound Yankees, led by the “season-long heroics” of rookie star Nick “The Swan” Spillage. But even baseball’s not immune from the city’s travails, as the diabolical revolutionary group Satanic Vanguard kidnaps Mayor Lightly at a “Save the Cities” rally and threatens further violence, entangling a young couple (Joan and Elliot) and even The Swan himself.This saga of urbane comic deviltry unfolds at a fast pace, with disjointed scenes and multiple characters crossing paths at several junctions heightening the boisterous New York-ness of the narrative. Gross masterfully employs the character arcs of Joan and Elliot to paint a rich picture of 1960s counterculture stalwarts—they tripped at Woodstock and have busked as a folk duo on the subway—facing the hard 1970s hangover. Joan’s obsession with The Swan leads her to strike a Faustian deal, setting the stage for a twisty love story intertwined with a search for identity as Joan and Elliot both face crises of the soul.
Gross’s potent blend of garbage strike-era New York portraiture, brisk comic dialogue (“Satan’s not so scary. He just don’t conform to bourgeois norms”), yellow-tabloid press accounts, earnest belief in baseball, and incisive socio-cultural and political explorations power a wild story rich with wicked humor but also a sense of humane street poetry. At its core, Spillage is an ornate portrait of New York, still vital at its lowest ebb: its politics, its neighborhoods, its diversity, and the abiding belief of the Flatbush Faithful. This is a crackerjack novel of love and self discovery that echoes themes of resilience and of redemption.
Takeaway: Faustian comedy of 1970s New York, the counterculture, and the Yankees.
Comparable Titles: Colum McCann’s Let the Great World Spin, Philip Roth’s The Great American Novel.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A
