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THE BEGINNER'S GOODBYE

An uncharacteristically slight work by a major novelist.

Though the plot finds a man in early middle age coming to terms with the death of his wife, the tone of this whimsical fable is so light that it practically floats off the page.

Some might consider the latest from Tyler (Noah’s Compass, 2010, etc.) typically wise and charming, while others will dismiss it as cloying. She employs a first-person narrator, a 36-year-old man named Aaron, who works for a small-family publishing firm that specializes in its Beginners series. “These were something on the order of the Dummies books, but without the cheerleader tone of voice,” explains Aaron, who proceeds to offer the sort of insight that could come from almost any Tyler novel: “Anything is manageable if it’s divided into small enough increments, was the theory, even life’s most complicated lessons.” At the start of the book, Aaron is in the beginning stages of mourning, after a tree crashed through his house and crushed his slightly older wife. She was a doctor; Aaron is “crippled” and something of an oddball. As Tyler’s readers recognize, we are each of us crippled and oddball, deep down inside, and the fact that Aaron’s was a marriage of misfits makes it no different from any other. Early on, Aaron receives visits from his dead wife, whom no one else can see, and whom he admits might well be a projection or an apparition. If he is an unreliable narrator, he is also a flawed one, often sounding more like a much older woman than like a man his age (very few of whom use terms like “busy-busy”). Mourning is both a rite of passage and a process of discovery for Aaron, who early worries that, “I can’t do this…I don’t know how. They don’t offer any courses in this; I haven’t had any practice,” but who is ultimately not a tragic but comic figure, one who will (more or less) live happily ever after.

An uncharacteristically slight work by a major novelist.

Pub Date: April 3, 2012

ISBN: 978-0-307-95727-6

Page Count: 208

Publisher: Knopf

Review Posted Online: Feb. 4, 2012

Kirkus Reviews Issue: Feb. 15, 2012

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THE MOST FUN WE EVER HAD

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

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THEN SHE WAS GONE

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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