WHAT THE NANNY SAW

Name: WHAT THE NANNY SAW
Author: Fiona Neill
ISBN: 978-1-59448-716-3

by Fiona Neill ‧ RELEASE DATE: Aug. 2, 2012

Not much happens in Neill’s novel, but her portrayal of the family is happily addictive and their greed-driven downfall a...

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A university student gets an insider’s look at the world banking crisis when she becomes nanny to a London financier, from the British author of Slummy Mummy (2007).

In 2006, Ali Sparrow has mounting tuition debt and a rocky affair with a professor she would like to escape. To solve both problems, she takes a year off from university to nanny for the Skinner family. In the world of London nannies, populated by buxom Eastern European refugees, Ali is quite a find: Though without experience, she is legal and in possession of a driver’s license. For her part, Ali has never seen such wealth. Father Nick is in charge of Lehman’s London branch and Bryony runs a financial PR firm. Their Holland Park mansion is filled with art (Ali stashes her Francis Bacon poster in the closet when she notices the real thing is above the fireplace), a ridiculous pug, a Philippina housekeeper and four children. Jake is 17 and soon off to Oxford; Izzy is 14 and flirting with boys and anorexia; and then there are the twins, Hector and Alfie, Ali’s primary charges. Ali’s story—a bright girl from a fishing village making good, with a junkie for an older sister and an unspectacular love life—really plays second fiddle to the drama at hand: the rise and fall of the glamorous Skinner family. Nick is mysterious and perhaps guilty of insider trading, Bryony is intense and controlling, Bryony’s father, Foy, is a fabulous drunken lothario, and the twins are a bit eerie, what with their secret language, empathic responses and refusal to be separated. It is all too much and not enough at once—a life lived extravagantly and shallowly, a series of parties, meetings and personal tragedies to schedule.

Not much happens in Neill’s novel, but her portrayal of the family is happily addictive and their greed-driven downfall a little bit delicious.

Pub Date: Aug. 2, 2012

ISBN: 978-1-59448-716-3

Page Count: 464

Publisher: Riverhead

Review Posted Online: July 21, 2012

Kirkus Reviews Issue: Aug. 1, 2012

Categories:

LITERARY FICTION | FAMILY LIFE & FRIENDSHIP

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THE MOST FUN WE EVER HAD

by Claire Lombardo ‧ RELEASE DATE: June 25, 2019

Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...

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Four Chicago sisters anchor a sharp, sly family story of feminine guile and guilt.

Newcomer Lombardo brews all seven deadly sins into a fun and brimming tale of an unapologetically bougie couple and their unruly daughters. In the opening scene, Liza Sorenson, daughter No. 3, flirts with a groomsman at her sister’s wedding. “There’s four of you?” he asked. “What’s that like?” Her retort: “It’s a vast hormonal hellscape. A marathon of instability and hair products.” Thus begins a story bristling with a particular kind of female intel. When Wendy, the oldest, sets her sights on a mate, she “made sure she left her mark throughout his house—soy milk in the fridge, box of tampons under the sink, surreptitious spritzes of her Bulgari musk on the sheets.” Turbulent Wendy is the novel’s best character, exuding a delectable bratty-ness. The parents—Marilyn, all pluck and busy optimism, and David, a genial family doctor—strike their offspring as impossibly happy. Lombardo levels this vision by interspersing chapters of the Sorenson parents’ early lean times with chapters about their daughters’ wobbly forays into adulthood. The central story unfurls over a single event-choked year, begun by Wendy, who unlatches a closed adoption and springs on her family the boy her stuffy married sister, Violet, gave away 15 years earlier. (The sisters improbably kept David and Marilyn clueless with a phony study-abroad scheme.) Into this churn, Lombardo adds cancer, infidelity, a heart attack, another unplanned pregnancy, a stillbirth, and an office crush for David. Meanwhile, youngest daughter Grace perpetrates a whopper, and “every day the lie was growing like mold, furring her judgment.” The writing here is silky, if occasionally overwrought. Still, the deft touches—a neighborhood fundraiser for a Little Free Library, a Twilight character as erotic touchstone—delight. The class calibrations are divine even as the utter apolitical whiteness of the Sorenson world becomes hard to fathom.

Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet another pleasurable tendril of sisterly malice uncurls.

Pub Date: June 25, 2019

ISBN: 978-0-385-54425-2

Page Count: 544

Publisher: Doubleday

Review Posted Online: March 3, 2019

Kirkus Reviews Issue: March 15, 2019

Categories:

LITERARY FICTION | FAMILY LIFE & FRIENDSHIP

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THEN SHE WAS GONE

by Lisa Jewell ‧ RELEASE DATE: April 24, 2018

Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

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Ten years after her teenage daughter went missing, a mother begins a new relationship only to discover she can't truly move on until she answers lingering questions about the past.

Laurel Mack’s life stopped in many ways the day her 15-year-old daughter, Ellie, left the house to study at the library and never returned. She drifted away from her other two children, Hanna and Jake, and eventually she and her husband, Paul, divorced. Ten years later, Ellie’s remains and her backpack are found, though the police are unable to determine the reasons for her disappearance and death. After Ellie’s funeral, Laurel begins a relationship with Floyd, a man she meets in a cafe. She's disarmed by Floyd’s charm, but when she meets his young daughter, Poppy, Laurel is startled by her resemblance to Ellie. As the novel progresses, Laurel becomes increasingly determined to learn what happened to Ellie, especially after discovering an odd connection between Poppy’s mother and her daughter even as her relationship with Floyd is becoming more serious. Jewell’s (I Found You, 2017, etc.) latest thriller moves at a brisk pace even as she plays with narrative structure: The book is split into three sections, including a first one which alternates chapters between the time of Ellie’s disappearance and the present and a second section that begins as Laurel and Floyd meet. Both of these sections primarily focus on Laurel. In the third section, Jewell alternates narrators and moments in time: The narrator switches to alternating first-person points of view (told by Poppy’s mother and Floyd) interspersed with third-person narration of Ellie’s experiences and Laurel’s discoveries in the present. All of these devices serve to build palpable tension, but the structure also contributes to how deeply disturbing the story becomes. At times, the characters and the emotional core of the events are almost obscured by such quick maneuvering through the weighty plot.

Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.