Lots of charm in the details, not much for momentum.

BLUE SHOE

Lamott infuses this peripatetic story of a woman’s struggles after a divorce with the same quirky brand of Christianity she explored in her wildly popular memoir, Traveling Mercies (1999).

When Mattie finally accepts that her marriage to the charming but unfaithful Nicholas is over, she moves her two children, Harry (six) and Ella (two), back into the house where she grew up because it’s free: conveniently, her mother, still intimidatingly energetic and competent at 72, has paid off the mortgage and decamped to an apartment. Over the next four years, Mattie goes through all the familiar rites of divorce: anger, longing, desperation, slow recovery to strength, and new love. Her children bring her solace even as they drive her crazy (Lamott is the master of domestic detail): Ella’s nail-chewing, Harry’s bouts of temper, as well as moments of tenderness are rendered with casual perfection. The description of the failed marriage itself, however, is generic, and Mattie’s sense of blamelessness in its collapse sets up a self-righteous tone not masked by self-deprecating humor, a Lamott trademark. Mattie prays her way out of bad feelings, and her religion weaves its way throughout, helping her cope as complications arise—which they do. She sleeps with her ex even after his girlfriend moves in and has a baby. She finds clues that her lovable father, a lawyer and liberal activist who died 20 years earlier, had a dark side. Her mother’s mind and body begin a slow, painful slide into senescence. Mattie’s dog dies. And then there is Daniel. We know he’ll become Mattie’s soulmate when he can’t bring himself to kill the rats he’s been hired to eradicate from Mattie’s infested house. While Daniel resists her attraction because he’s married, she takes him to her church (his wife is a nonbeliever), and they become best friends to a degree that would threaten the most secure spouse.

Lots of charm in the details, not much for momentum.

Pub Date: Oct. 1, 2002

ISBN: 1-57322-226-7

Page Count: 304

Publisher: Riverhead

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Aug. 15, 2002

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An enjoyable, cozy novel that touches on tough topics.

THE AUTHENTICITY PROJECT

A group of strangers who live near each other in London become fast friends after writing their deepest secrets in a shared notebook.

Julian Jessop, a septuagenarian artist, is bone-crushingly lonely when he starts “The Authenticity Project”—as he titles a slim green notebook—and begins its first handwritten entry questioning how well people know each other in his tiny corner of London. After 15 years on his own mourning the loss of his beloved wife, he begins the project with the aim that whoever finds the little volume when he leaves it in a cafe will share their true self with their own entry and then pass the volume on to a stranger. The second person to share their inner selves in the notebook’s pages is Monica, 37, owner of a failing cafe and a former corporate lawyer who desperately wants to have a baby. From there the story unfolds, as the volume travels to Thailand and back to London, seemingly destined to fall only into the hands of people—an alcoholic drug addict, an Australian tourist, a social media influencer/new mother, etc.—who already live clustered together geographically. This is a glossy tale where difficulties and addictions appear and are overcome, where lies are told and then forgiven, where love is sought and found, and where truths, once spoken, can set you free. Secondary characters, including an interracial gay couple, appear with their own nuanced parts in the story. The message is strong, urging readers to get off their smartphones and social media and live in the real, authentic world—no chain stores or brands allowed here—making friends and forming a real-life community and support network. And is that really a bad thing?

An enjoyable, cozy novel that touches on tough topics.

Pub Date: Feb. 4, 2020

ISBN: 978-1-9848-7861-8

Page Count: 368

Publisher: Pamela Dorman/Viking

Review Posted Online: Oct. 27, 2019

Kirkus Reviews Issue: Nov. 15, 2019

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A strict report, worthy of sympathy.

THE CATCHER IN THE RYE

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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