Meacham's fans—and she has many—will be glad for this prequel.
Of teary eyes and torn crinoline: an appropriately big Texas saga by homegrown romance maven Meacham (Tumbleweeds, 2012, etc.).
The sins of the fathers are visited upon the children. Or maybe the other way around, since this book covers the generations before the Warwicks and Tolivers donned Ralph Lauren, before their Dallas dust-ups in Roses (2010). Meacham’s steamy prequel opens in Tidewater country, where young Jessica is pitching a wobbly because—well, because the pressure is on to do right by the paterfamilias and marry well onto some rich plantation, the ethical niceties of human bondage notwithstanding. Quoth she, in language befitting a coarser but more modern version of Gone with the Wind, “I’d rather copulate with a mule than a slave owner.” It takes many pages before Miss Jessica bestirs herself for the westward movement and Manifest Destiny, for a vast landscape fussed and feuded over by stalwart Jeremy Warwick and Silas Toliver. Well, you can't settle a frontier or found an empire without breaking eggs, and Meacham's latest is littered with broken shells—most of them broken at just the right moment and not haphazardly, but always with the opportunity for bosoms to heave into view. Meacham writes skillfully, if never stretching the bounds of the historical romance genre; readers expecting a yarn of the Lonesome Dove school will find that they're in Barbara Cartland territory instead. (Miss Jessie, after all, belongs not to the local chapter of the Texas Rangers auxiliary but to a book club.) Still, Meacham writes competently, if without much flair, and her tale delivers what it sets out to do: Namely, it’s a historical oater with oodles of emotion, rent hearts, sundered friendships and fierce Comanches. And does Ms. Jessie ever get around to bedding down with an anti-abolitionist? There’s the question.
Meacham's fans—and she has many—will be glad for this prequel.Pub Date: Feb. 4, 2014
ISBN: 978-1-4555-4738-8
Page Count: 624
Publisher: Grand Central Publishing
Review Posted Online: Aug. 30, 2013
Kirkus Reviews Issue: Sept. 15, 2013
IN THE NEWS
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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