Why Daphne keeps her secret in the 21st century is hard to fathom, and it’s just one of the creaking contrivances that fans...
An unemployed former art history professor searches for his birth father’s identity in the newest from Glass (The Widower’s Tale, 2010, etc.).
In his mid-40s, Kit Noonan, father of twins, has become an ineffectual househusband with no job prospects, a shrinking bank account and a marriage in deep trouble. But for reasons that never quite become clear, the unsolved question of his paternity takes priority, and prodded by wife, Sandra, a barely sketched character who shares no apparent chemistry with him, Kit sets out on a journey of discovery. Kit’s mother, Daphne, bore him at 18 and, now in her 60s, still refuses to divulge his father’s identity (although readers know early on that adolescent Daphne’s lover was Malachy Burns, the AIDS-infected music critic from Glass’ 2002 National Book Award–winning novel, The Three Junes). Soon, Kit has gone to visit his former stepfather, Daphne’s first husband, Jasper. Jasper is a lovable creation, tough but gentle, worried that he was not much of a father to his own sons, let alone Kit. Daphne broke Jasper’s heart when she left him, but since he promised her he would keep her secrets, he is at first reluctant to share what he knows with Kit. Eventually he does share, and Kit is soon in touch with Lucinda Burns, wife of an aging New Hampshire senator and still-grieving mother of Malachy. A devout Catholic mother of two gay sons, Lucinda went against Malachy’s wishes in pushing Daphne to have Kit and then dedicated her life to encouraging single mothers to have their babies. Now she questions her rigid choices with the help of Malachy’s last friend, Three Junes character Fenno. While all of the characters Kit encounters have idiosyncratic charm, Kit himself is an overly sensitive, navel-gazing bore. Nevertheless, a new extended family develops, though not without trials and tears.
Why Daphne keeps her secret in the 21st century is hard to fathom, and it’s just one of the creaking contrivances that fans of Glass’ empowering tear-jerkers will have to overlook.Pub Date: April 1, 2014
ISBN: 978-0-307-37793-7
Page Count: 416
Publisher: Pantheon
Review Posted Online: Jan. 31, 2014
Kirkus Reviews Issue: Feb. 15, 2014
PROFILES
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...
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
SEEN & HEARD
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.
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.Pub Date: April 24, 2018
ISBN: 978-1-5011-5464-5
Page Count: 368
Publisher: Atria
Review Posted Online: Feb. 5, 2018
Kirkus Reviews Issue: Feb. 15, 2018
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