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Whereabouts
Set in the deep South of the 1970s, Whereabouts is the powerful coming-of-age story of an independent teenager who desperately longs to flee her small, claustrophobic hometown following the unexpected death of her father and her mother's sudden remarriage to the local funeral director. As she attempts to map a new course for her young life, Missy's search is constantly derailed by the men she encounters-the mortician stepfather with a penchant for chilly women, a much older third cousin who offers to drive her aimlessly in his dusty pickup (for a steep, perhaps tragic price), the quirky owner of an all-but-abandoned roadside motel, and a pair of mismatched AWOL Marines from Parris Island. From cheap campgrounds to roadside bars, to the cracked Formica counter of a crumbling pancake house, Missy Belue wanders the back roads of a forgotten South, looking for a safe place to land, earning fresh scar tissue from the confusing, complicated world outside her hometown. In Whereabouts , award-winning writer Scott Gould lyrically weaves a tale of escape and redemption and, ultimately, of how love somehow survives, no matter the twisting paths it travels.
258 pages, Hardcover
Published October 15, 2020
6 people are currently reading
57 people want to read
About the author
Scott Gould
6 books53 followersScott Gould is the author of six books, including The Hammerhead Chronicles, winner of the Eric Hoffer Award for Fiction, and Things That Crash, Things That Fly, which won a 2022 Memoir Prize for Books. His other honors include a Next Generation Indie Book Award, an IPPY Award for Fiction, the Larry Brown Short Story Award and the S.C. Arts Commission Artist Fellowship in Prose. His work has appeared in a number of publications, including Kenyon Review, Black Warrior Review, Pangyrus, Crazyhorse, Pithead Chapel, Garden & Gun, and New Stories from the South, among others. His new novel, Peace Like a River, is forthcoming in August 2025 from Regal House Publishing. He lives in Sans Souci, South Carolina.
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Displaying 1 - 10 of 10 reviews
January 27, 2021
I enjoyed the story of Missy Belue and her travels. I’m only sorry the book was short. I could have journeyed on with her.
November 11, 2020
Move over Holden Caulfield and Huck Finn! There’s a new protagonist in town, and her name is Missy Belue. Missy’s on the road, and she’s got letters to write, a charismatic and inscrutable cousin, Marines to meet, a diner to work at, Caddy rides to take, and readers to charm with her big secret.
A rollicking ride of an adventure story through the South in the 1970s. Excellent dialogue and characterizations. This novel is filled with warmth, suspense, and sorrow in equal measure, along with the creepiest undertaker stepfather I’ve ever read.
A real page-turner that I heartily recommend. I look forward to Scott Gould’s next novel.
A rollicking ride of an adventure story through the South in the 1970s. Excellent dialogue and characterizations. This novel is filled with warmth, suspense, and sorrow in equal measure, along with the creepiest undertaker stepfather I’ve ever read.
A real page-turner that I heartily recommend. I look forward to Scott Gould’s next novel.
February 13, 2021
Great Read!!!! I loved traveling with Missy Belue!
February 20, 2021
In Whereabouts, Gould returns to the small town of Kingstree, SC, some may remember from his short story collection, Strangers to Temptation, but now with a female narrator and protagonist, Missy Belue. Mere weeks before her high school graduation her father suddenly dies, and Missy finds herself at a crossroads. Missy and her near-catatonic mother, Mona Belue, become inert in their grief. Mona juggles Vodka and religion while Missy goes through the motions, lost and dazed. To feel the void, Mona turns to Asa Floyd, the local funeral director who buries her late husband. In short order, Missy’s father and childhood home are replaced with a new stepfather and living quarters above Floyd’s Funeral Home. At the wedding, Missy’s third cousin, a/k/a road gypsy, Skyles Huffman, appears on the scene and from there the real collision course in humor and heartbreak takes off.
Whereabouts follows in the classic tradition of an epic poem where the hero/heroine undergoes a series of adventures before returning home and/or carrying out his/her mission or quest. It’s both a road narrative and modern-day fairytale, but I’m more inclined towards calling it a modern odyssey because Gould alludes to the Roman poet, Virgil, early on. Virgil also "borrowed" from Homer's The Odyssey when writing The Aeneid. I don’t believe in coincidence when it comes to authors and allusions. Asa imagines himself as a Virgil guiding the grief-stricken through the “twists and turns” and the underworld of grief. This comic allusion to The Aeneid foreshadows Missy’s epic journey with Skyles. She hits the open road without a plan, yet she finally escapes Kingstree. Ironically, Skyles, who often warns Missy about life’s distractions, becomes her biggest distraction—her Dido to Aeneas. Skyles is as immobile as herself and isn’t her answer. While purposely driving in circles, Missy realizes she’s been figuratively driving in circles the entire time she’s been on the road with Skyles. She abandons him, finds a job as a waitress at the Lil’ Pancake House and a home across the street at the Thoroughbred Motel (that’s anything but thoroughbred). Her new home is a nowhere speck off the interstate, but Missy finally feels like she belongs until she’s dealt another life-changer. Her boss, Hassan, goes into overdrive and takes control of Missy’s life. This is the 1970s when old ideas die hard and Missy is young and naïve—a girl seeking a father-figure or at least the next man who crosses her path to tell her what to do. She’s hits the road again, looking for a sign, and maybe another man. Ultimately, Missy discovers internal strength and independence and leaves the road to return to her roots.
As antagonists go, the men in Whereabouts could be a lot worse. Sure, Skyles is a cheating, aimless, bad-mannered wanderer with a weird philosophy and some may say he took advantage of Missy’s grief and innocence, but he could be worse. The marines she hitches a ride with could have been deadly. Her boss, Hassan is a controlling nut, but he does care for Missy. Even her creepy stepfather, Asa, takes care of her in his own way. My point is the antagonists are not as villainous as I had imagined. So where is the conflict coming from then? It’s mostly internal. In many ways, Missy is her own antagonist. But I still think you must go deeper and ask what does Missy believe to be adversarial? I noticed this in Strangers to Temptation, how Gould used setting, or the town of Kingstree as a character, and he does it again in Whereabouts. On the onset, Gould personifies the town of Kingstree like a (maternal) prison warden: “But Kingstree was one of those small, motherly Southern towns that didn’t give up its young easily. She [Missy] and Angela and all their friends had geography and tradition working against them. Very few escaped.” The only answer is the road, but the road has its challenges. Even after Missy “settles” down at the Lil’ Pancake House and the Thoroughbred Hotel, these places lose their luster. Other readers may say its due the characters that inhabit these settings, but there’s a sense that these places are closing in on her, so she runs. The road becomes her companion for grief and escapism, but nonetheless, a companion which suggest another character.
Onto one of my favorite things about Gould’s writing—his innate ability at language, particularly similes and metaphors. I keep several small notebooks strategically placed around the house, in my purse, or even in my car for whenever I may steal a second to read a book. These notebooks largely house similes and metaphors because I wasn’t gifted with this talent. It’s not stealing, I don’t use them later, but I do study them and sometimes build my own from their foundation. I filled several pages of my notebooks with Gould’s similes before it dawned on me how unfair this was. The god of words hadn’t judicially divided up similes between authors, and I stopped hoarding Gould’s similes. The fact is all you have to do is open any random page in Whereabouts (or Strangers to Temptation alike) and they’re waiting for you. Here are a couple of my favorites: “Asa’s words hit his ears late, like they came on the breeze from a faraway place and needed translating,” and “She wasn’t more than a hundred yards from the mother’s wedding reception, but she was as lost as an Easter egg.” Gould’s similes and metaphors are never heavy-handed. You know when you read a bad one because they stand out like a red light in a one-light town. See what I mean? Even when he layers them, they come off organically, indicating a well-versed, well-read, skilled author who has been honing his craft for some time. This guy may have some poems up his sleeve.
On that same thread, I must mention the compass. You can’t miss it. It’s on the cover and tiny compasses appear at narrative breaks. This may seem cute to some, but I believe it’s more significant than just “cute.” The image serves as a reminder to the reader we are on a journey (or story) navigated by the author. Perhaps, it’s a nod to the actual journey of writing a novel as well, but I’m speculating. Mainly, it acts as an extended metaphor. And I’m reminded of Harper Lee’s To Kill A Mockingbird—a classic example of a novel where Lee employs this literary trope. Lee’s mockingbird denotes a shattered innocence (simplifying here for the sake of brevity) and like Gould, she thematically places her mockingbirds at pivotal moments. While Missy’s mother is clearing out her father’s odds and ends, Missy discovers her father’s vintage compass collection. It sparks memories of family trips with her dad eyeing the dashboard compass as well as annual displays of his collection and him telling her, “A compass rose is a work of art for directions…The directions always stay the same, but the way somebody points them out, the way somebody gives them more meaning, that’s where the art comes in.” Here, the compass anchors Missy to her father, to her town, but it also points to loss. Further into the novel, the compass represents adventure and Missy’s desire for movement. Towards the end, it signifies how lost she is, a lack of self-awareness and direction. Finally, it denotes her desire to return home. The compass is a rich symbol and Gould gracefully weaves it throughout Whereabouts in such a way that it creates multiple meanings for different readers. This is the art of a good symbol and an excellent metaphor for life’s journey.
Whereabouts follows in the classic tradition of an epic poem where the hero/heroine undergoes a series of adventures before returning home and/or carrying out his/her mission or quest. It’s both a road narrative and modern-day fairytale, but I’m more inclined towards calling it a modern odyssey because Gould alludes to the Roman poet, Virgil, early on. Virgil also "borrowed" from Homer's The Odyssey when writing The Aeneid. I don’t believe in coincidence when it comes to authors and allusions. Asa imagines himself as a Virgil guiding the grief-stricken through the “twists and turns” and the underworld of grief. This comic allusion to The Aeneid foreshadows Missy’s epic journey with Skyles. She hits the open road without a plan, yet she finally escapes Kingstree. Ironically, Skyles, who often warns Missy about life’s distractions, becomes her biggest distraction—her Dido to Aeneas. Skyles is as immobile as herself and isn’t her answer. While purposely driving in circles, Missy realizes she’s been figuratively driving in circles the entire time she’s been on the road with Skyles. She abandons him, finds a job as a waitress at the Lil’ Pancake House and a home across the street at the Thoroughbred Motel (that’s anything but thoroughbred). Her new home is a nowhere speck off the interstate, but Missy finally feels like she belongs until she’s dealt another life-changer. Her boss, Hassan, goes into overdrive and takes control of Missy’s life. This is the 1970s when old ideas die hard and Missy is young and naïve—a girl seeking a father-figure or at least the next man who crosses her path to tell her what to do. She’s hits the road again, looking for a sign, and maybe another man. Ultimately, Missy discovers internal strength and independence and leaves the road to return to her roots.
As antagonists go, the men in Whereabouts could be a lot worse. Sure, Skyles is a cheating, aimless, bad-mannered wanderer with a weird philosophy and some may say he took advantage of Missy’s grief and innocence, but he could be worse. The marines she hitches a ride with could have been deadly. Her boss, Hassan is a controlling nut, but he does care for Missy. Even her creepy stepfather, Asa, takes care of her in his own way. My point is the antagonists are not as villainous as I had imagined. So where is the conflict coming from then? It’s mostly internal. In many ways, Missy is her own antagonist. But I still think you must go deeper and ask what does Missy believe to be adversarial? I noticed this in Strangers to Temptation, how Gould used setting, or the town of Kingstree as a character, and he does it again in Whereabouts. On the onset, Gould personifies the town of Kingstree like a (maternal) prison warden: “But Kingstree was one of those small, motherly Southern towns that didn’t give up its young easily. She [Missy] and Angela and all their friends had geography and tradition working against them. Very few escaped.” The only answer is the road, but the road has its challenges. Even after Missy “settles” down at the Lil’ Pancake House and the Thoroughbred Hotel, these places lose their luster. Other readers may say its due the characters that inhabit these settings, but there’s a sense that these places are closing in on her, so she runs. The road becomes her companion for grief and escapism, but nonetheless, a companion which suggest another character.
Onto one of my favorite things about Gould’s writing—his innate ability at language, particularly similes and metaphors. I keep several small notebooks strategically placed around the house, in my purse, or even in my car for whenever I may steal a second to read a book. These notebooks largely house similes and metaphors because I wasn’t gifted with this talent. It’s not stealing, I don’t use them later, but I do study them and sometimes build my own from their foundation. I filled several pages of my notebooks with Gould’s similes before it dawned on me how unfair this was. The god of words hadn’t judicially divided up similes between authors, and I stopped hoarding Gould’s similes. The fact is all you have to do is open any random page in Whereabouts (or Strangers to Temptation alike) and they’re waiting for you. Here are a couple of my favorites: “Asa’s words hit his ears late, like they came on the breeze from a faraway place and needed translating,” and “She wasn’t more than a hundred yards from the mother’s wedding reception, but she was as lost as an Easter egg.” Gould’s similes and metaphors are never heavy-handed. You know when you read a bad one because they stand out like a red light in a one-light town. See what I mean? Even when he layers them, they come off organically, indicating a well-versed, well-read, skilled author who has been honing his craft for some time. This guy may have some poems up his sleeve.
On that same thread, I must mention the compass. You can’t miss it. It’s on the cover and tiny compasses appear at narrative breaks. This may seem cute to some, but I believe it’s more significant than just “cute.” The image serves as a reminder to the reader we are on a journey (or story) navigated by the author. Perhaps, it’s a nod to the actual journey of writing a novel as well, but I’m speculating. Mainly, it acts as an extended metaphor. And I’m reminded of Harper Lee’s To Kill A Mockingbird—a classic example of a novel where Lee employs this literary trope. Lee’s mockingbird denotes a shattered innocence (simplifying here for the sake of brevity) and like Gould, she thematically places her mockingbirds at pivotal moments. While Missy’s mother is clearing out her father’s odds and ends, Missy discovers her father’s vintage compass collection. It sparks memories of family trips with her dad eyeing the dashboard compass as well as annual displays of his collection and him telling her, “A compass rose is a work of art for directions…The directions always stay the same, but the way somebody points them out, the way somebody gives them more meaning, that’s where the art comes in.” Here, the compass anchors Missy to her father, to her town, but it also points to loss. Further into the novel, the compass represents adventure and Missy’s desire for movement. Towards the end, it signifies how lost she is, a lack of self-awareness and direction. Finally, it denotes her desire to return home. The compass is a rich symbol and Gould gracefully weaves it throughout Whereabouts in such a way that it creates multiple meanings for different readers. This is the art of a good symbol and an excellent metaphor for life’s journey.
December 8, 2020
Loved this book and ALL the characters in it... including the 1970s era South. I was along for the ride with Missy Belue and was transformed along with her.
If you appreciate books with compelling, quirky characters this one's for you. And if you appreciate top-notch, lyrical writing, you won't be disappointed. Highly Recommend.
If you appreciate books with compelling, quirky characters this one's for you. And if you appreciate top-notch, lyrical writing, you won't be disappointed. Highly Recommend.
March 11, 2021
I read this as part of a Southern Literature book club I’m in. The story felt a little bit like two half books squished into one but I didn’t mind the disjointed nature of it because the characters were so interesting and unique. I love books set in South Carolina and especially books that are coming of age, so I might be a bit biased in my review
February 17, 2021
I wanted more from the story, mainly more for Missy Belue.
Missy had a lot of growing and healing she needed to do. I don’t feel like she was going to get that ending up right back where she started with a newborn.
Missy had a lot of growing and healing she needed to do. I don’t feel like she was going to get that ending up right back where she started with a newborn.
This entire review has been hidden because of spoilers.
February 17, 2021
The life and times of Miss Missy Belue are anything but boring. A cast of larger-than-life characters and the South Carolina backcountry intermingle to tell a coming-of-age tale unlike most. At times uncomfortable to read or implausible, but overall solid and entertaining storytelling.
February 4, 2022
A 14 year old girl enjoys sex with her adult cousin who gets her pregnant. If you like that, this book is for you.
December 28, 2022
Quick read by a wonderful Author. Look forward to another.
Displaying 1 - 10 of 10 reviews