Hempel’s work has the staccato structure of authentic thought. “The Chicane” has the swerving rhythm its title would suggest; its narrator recalls her aunt Lauryn’s troubled relationships with men (a French film star, a former racing-car driver)... There is something moving and surprising in this willed engagement with difficult memories; she goes to see the film, knowing, or part-knowing, the emotion it will provoke. The resolution offered is satisfying for the reader, but by no means neat... The final story, “Cloudland”, is by far the longest: nearly a novella... This moving story unfolds with a stately power; an end-note informs the reader of its source... The forms of Hempel’s fiction are rich and compelling, each story a revelation of fractured grace. Sure, keep it coming.