Ten Thousand Saints

Smart-mouthed, self-destructive, and seemingly amoral, the protagonist of this book is not necessarily likable as it begins. Adopted and raised by hippie parents with addictions and other profound flaws, Jude clings to his friend Teddy for security, which too often comes in the form of petty crime and substance abuse. Steven Kaplan's narration infuses a variety of troubled characters with youthful, earnest voices that quietly convince the listener not to give up on them. Kaplan's vocals encompass the deliriums of 1980s and 1990s extremes--in drugs, sex, and music--and the human quest for acceptance. He captures Jude's transition from small-town Vermont to Manhattan's straight-edge music scene without lapsing into melodrama or coldheartedness. Both the story and Kaplan's performance are superb. L.B.F. Winner of AudioFile Earphones Award (c) AudioFile 2011, Portland, Maine

February 7, 2011
Henderson debuts with a coming-of-age story set in the 1980s that departs from the genre's familiar tropes to find a panoramic view of how the imperfect escape from our parents' mistakes makes (equally imperfect) adults of us. Jude Keffy-Horn and Teddy McNicholas are drug-addled adolescents stuck in suburban Vermont and dreaming of an escape to New York City. But after Teddy dies of an overdose, Jude makes good on their dream and forms a de facto family with Teddy's straight-edge brother, Johnny; Jude's estranged pot-farmer father, Lester; and the troubled Eliza Urbanski, who may be carrying Teddy's child. What results is an odyssey encompassing the age of CBGB, Hare Krishnas, zines, and the emergence of AIDS. Henderson is careful, amid all this youthy nostalgia, not to sideline the adults, who look upon the changing fashions with varying levels of engagement. Still, the narrative occasionally teeters into a didactic, researched tone that may put off readers to whom the milieu isn't new—but the commitment to its characters and jettisoning of hayseed-in-the-city cliché distinguish a nervy voice adept at etching the outlines of a generation, its prejudices and pandemics, and the idols killed along the way.