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With a flavor of Lorrie Moore, graceful, bright, modern writing.

Love, marriage, the whole damn thing—all spanned in a witty, tender first novel.

After three years of marriage, Clark and Charlotte Adair have moved into their first home, “a normal house in a normal place,” paid for by Clark’s mother’s bequest after she committed suicide. Although still in the delighted phase of their relationship, the two have learned enough about each other to sense limits and disappointments. Charlotte, an orphan, fears abandonment above all and wants no children. Clark, “prone to nostalgia,” has been imbued with some of his paranoid mother’s colorful fantasies in lieu of a truer sense of adulthood. The purchase of the yellow house in Clementine is an opportunity for the two to settle down, but what about the rumors that previous owners fled the place? And how to explain the glimpsed figures and overheard voices first noted by Clark, then Charlotte? Gaige’s beguilingly offbeat voice and appealing mix of humor and insight offer continual pleasures, and her story, woven together with that of the house, reaches high. Each chapter follows the discrete shape of a short story while also building on the troubling notion that there are indeed ghosts abroad—not only the seemingly ineradicable spirits at Quail Hollow Road but also the “persona” phantoms that dwell inside Clark and Charlotte. Conventional action is relatively minor: the dog escapes; Clark rescues a boy at the swimming pool and experiences a death rush of exhilaration. But the shifts in mood and the variations in the couple’s power balance are just as telling. After a snowstorm, they have their biggest row, and Clark drives away. In the final pages, Gaige’s usually unerring if unpredictable sense of narrative true north wavers, and chapters become ragged. Despite a final soft-centered swerve, however, the impression overall is of a limpid style and the peeling away of the comedy of intimacy to expose isolated souls.

With a flavor of Lorrie Moore, graceful, bright, modern writing.

Pub Date: May 12, 2005

ISBN: 1-59051-174-3

Page Count: 248

Publisher: Other Press

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Jan. 15, 2005

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Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.

Sisters work together to solve a child-abandonment case.

Ellie and Julia Cates have never been close. Julia is shy and brainy; Ellie gets by on charm and looks. Their differences must be tossed aside when a traumatized young girl wanders in from the forest into their hometown in Washington. The sisters’ professional skills are put to the test. Julia is a world-renowned child psychologist who has lost her edge. She is reeling from a case that went publicly sour. Though she was cleared of all wrongdoing, Julia’s name was tarnished, forcing her to shutter her Beverly Hills practice. Ellie Barton is the local police chief in Rain Valley, who’s never faced a tougher case. This is her chance to prove she is more than just a fading homecoming queen, but a scarcity of clues and a reluctant victim make locating the girl’s parents nearly impossible. Ellie places an SOS call to her sister; she needs an expert to rehabilitate this wild-child who has been living outside of civilization for years. Confronted with her professional demons, Julia once again has the opportunity to display her talents and salvage her reputation. Hannah (The Things We Do for Love, 2004, etc.) is at her best when writing from the girl’s perspective. The feral wolf-child keeps the reader interested long after the other, transparent characters have grown tiresome. Hannah’s torturously over-written romance passages are stale, but there are surprises in store as the sisters set about unearthing Alice’s past and creating a home for her.

Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.

Pub Date: March 1, 2006

ISBN: 0-345-46752-3

Page Count: 400

Publisher: Ballantine

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: Dec. 1, 2005

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A strict report, worthy of sympathy.

A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.

"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….

A strict report, worthy of sympathy.

Pub Date: June 15, 1951

ISBN: 0316769177

Page Count: -

Publisher: Little, Brown

Review Posted Online: Nov. 2, 2011

Kirkus Reviews Issue: June 15, 1951

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