Damaged parent, damaged child, but Hall’s writing is not urgent or focused enough to make us care about their fates.
From this American author and longtime London resident, a second novel (Deliria, 1994) about the crack-up of an Irish trucker and his daughter.
Bobby Pickering, a Catholic from a Protestant town in Northern Ireland, started to “go dark,” or experience depression, after his beloved mother died of cancer. He moved to London to play bass guitar with an easy-listening band. In 1985, he met Rosalie, an art student from California. Bobby was a sweet but utterly passive guy, whom Rosalie seduced and then, after becoming pregnant, insisted on marrying; yet she had no interest in her baby, Josephine, and returned stateside, leaving Bobby to raise her while driving his newly acquired truck. All this is flashback. The story opens in 1998, when Jo is 12; she has no friends and seldom attends school, accompanying Bobby on his long-distance rides. They stop for a hitchhiker, an up-and-coming American country singer/songwriter, Cosima Stewart (her lyrics punctuate the novel), and Jo becomes a groupie of Cosima and her band. A crisis occurs at the novel’s midpoint, five years later. Jo, having wormed her way into the band’s favor, has had drug-fueled sex with band member Rick, Cosima’s boyfriend. Relishing her new status (ex-virgin!), she flirts with passengers on a ferry ride to Ireland and is horrible to Bobby, who feels rejected and jumps overboard. The story now speeds up (no more flashbacks) while becoming increasingly implausible. In denial about her father’s suicide, Jo starts stalking Cosima, even following her to California. Hall is less interested in examining Jo’s possibly shattered though seemingly robust psyche than in sketching a contemporary Wild West, letting the clichés about guns rain down. After a violent confrontation with Cosima, Jo is sent to a nuthouse before being sheltered by her mother Rosalie (now an upright observant Jew) and eventually returning to England.
Damaged parent, damaged child, but Hall’s writing is not urgent or focused enough to make us care about their fates.Pub Date: Jan. 9, 2007
ISBN: 0-312-35944-6
Page Count: 320
Publisher: Dunne/St. Martin's
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 15, 2006
BOOK REVIEW
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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