Author(s): Kathryn Scanlan

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Kathryn Scanlan’s Kick the Latch vividly captures the arc of one woman’s life at the racetrack—the flat land and ramshackle backstretch; the bad feelings and friction; the winner’s circle and the racetrack bar; the fancy suits and fancy boots; and the “particular language” of “grooms, jockeys, trainers, racing secretaries, stewards, pony people, hotwalkers, everybody”—with economy and integrity. Based on transcribed interviews with Sonia, a horse trainer, the novel investigates form and authenticity in a feat of synthesis reminiscent of Charles Reznikoff’s Testimony. As Scanlan puts it, “I wanted to preserve—amplify, exaggerate—Sonia’s idiosyncratic speech, her bluntness, her flair as a storyteller. I arrived at what you could call a composite portrait of a self.” Whittled down with a fiercely singular artistry, Kick the Latch bangs out of the starting gate and carries the reader on a careening joyride around the inside track.

“Magical.”
—Lydia Davis 

“Scanlan’s inventive debut novel documents a woman’s hardscrabble yet jubilant life and her dedication to working with racehorses. Shaped from interview transcripts with a real-life trainer named Sonia (no last name given), Scanlan’s vignettes carry readers across the arc of Sonia’s life...but the most beautiful moments are quiet ones, in which Sonia processes the choices she and others have made, and of the consequences she faces in a field dominated by men. With this sharp and lovely tribute to a singular woman, Scanlan continues to impress.”
—Publishers Weekly 

“What’s mesmerizing here is Sonia’s voice, her rhythm and gift for telling a story. You forget for most of the ride that it’s a ventriloquy act and the author—Kathryn Scanlan—wields a mean stiletto for a crop. Bringing together two seemingly antithetical impulses—the authenticity of Sonia’s words, the artifice of Scanlan’s whittled down collage of those words—the book is a nifty feat of equipoise achieved with the same ease that the trainer notes in an ideal jockey who is able to ‘balance an egg on their back’ without losing it. The hybrid that results is a wonderfully empathic window opened onto a fascinating life lived on the margins.”
—Eric Banks, 4Columns

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THOMAS'S REVIEW: 
I thought for a while that horse racing was a sort of sport, and I wondered if there were other sports in which the people participating in them were relatively unknown, horse racing being done in the name of the horses, after all, not in the name of the jockeys, whereas cycle racing is done in the names of the cyclists not in the name of their bicycles, and then I realised that horseracing is not a sport at all, but a kind of competition more akin to marbles, a competition of ownership, in which the jockeys are just what make the horses go, the jockeys are the augmentation of the prowess of the horses with the will of their owners, nothing more, implants, marginal figures along with the other unknown persons whose collective efforts both enable and are obscured by the horses that they serve. But this marginalisation, together with the peripatetic nature of these professions, makes the contained human society of the racecourse backstretch such a fascinating and, for want of a better word, such a human one. In small worlds what would otherwise be small is writ large, and what would otherwise be unnoticed is made clear. Kathryn Scalan’s wholly remarkable novel Kick the Latch is ostensibly the edited-down text of the Sonia half of a series of interviews between Scanlan and a longtime horse trainer (and subsequently prison guard and later bric-a-brac dealer) named Sonia, conducted between 2018 and 2021. Certainly there is a pellucid quality to these first-person accounts, the voice and language of Sonia are strongly delineated and very appealing to read, and the insights gleaned from them into the life of their narrator, from her hard-scrabble girlhood to her hard-scrabble but colourful life around the racetrack and beyond, are entirely compelling. In these twelve sets of titled anecdotes, Scanlan has succeeded in making herself entirely invisible (the text’s invisible but vital jockey), which shows invisibility to be a cardinal virtue for an author or an editor — and it is uncertain which of these labels applies itself most suitably to Scanlan’s achievement in making this book. Perhaps all good writing is primarily editing, primarily on the part of the writer themselves (and secondarily by any subsequent editor). Anyone can generate any amount of text; it is only the ruthless and careful editing of this text (before and after it is actually written down), the trimming and tightening of text, the removal of all but the essential details and the tuning of the grammatical mechanisms of the text, that produces something worth reading. The virtues of literature are primarily negative. I first came across Scanlan with her first book, the poignant and beautiful Aug 9—Fog, which was made by ‘editing down’ a stranger’s diary found at an estate sale into a small book of universal resonance. Kick the Latch could be said to be an extension of the same project: an applied rigour and unsparing humility by Scanlan that makes something that would otherwise be ordinary and unnoticed — found experiences from unimportant lives, as are all of our lives unimportant — into something so sharp and clear that it touches the reader deeply. What more could we want from literature than this?

Kathryn Scanlan received a 2021 American Academy of Arts and Letters Award for “exceptional accomplishment” in literature. Her story collection The Dominant Animal was named a Best Book of 2020 by The Guardian, Southwest Review, and Publishers Weekly, and her first book, Aug 9—Fog, was praised in a starred review by Publishers Weekly as “an outstanding debut, profound and moving: Scanlan’s portrait of an everywoman feels entirely new.” She lives in Los Angeles.