THE DAUGHTERS

An aging writer in love with his neighbor traces the stories of her family back for decades.

Peter “Z” Zemeckis won the National Book Award back in 1997, but when readers meet him in 2012, he has eased his way into retirement and irrelevance. He’s about to fulfill the purpose of the little blue pill he swallowed earlier in the night when his date is interrupted by his neighbor and “unrequited love,” Nancy Chu, who asks to borrow his car to rescue her daughter, Charlotte, from a bad situation at a bar. Fascinated with tracing the history of Nancy’s family, Z rewinds to 1977 and the story of Amy, a teenage barrel-racing champion in Amarillo, Texas, whose pregnancy scare forces her to re-evaluate her priorities. “A baby fell out of thin air and she had to let go of everything to make sure she could catch it. Maybe she didn’t want to pick all that stuff back up.” Then it’s off to 1986 and Chinese immigrant Zhiyu, who painstakingly cooks a duck in preparation for dinner with his daughter, our Nancy, and her new boyfriend, Eric. In 2001, Eric and Nancy divorce and Nancy chooses her high-powered career at IBM, leaving Eric, a physics professor, to raise their 12-year-old daughter, Charlotte, alone (that is, if you don’t count the occasional help from his new girlfriend, Amy). Rogers crafts a richly textured vision of everyday life as he explores the ways the bonds of family stretch and collapse over generations. His characters struggle with questions about what it means to be a spouse, a parent, a daughter. In one of several physics metaphors, Z explains that “radioactive atoms also have ‘daughters.’ Parent atoms expend their energy in waves until eventually decaying into different elements altogether.…Why? Because. Just the way of the universe. But ask any father, and he’ll probably tell you: that’s just fine with him.” Rogers is at his best in the details, grounding characters with tidbits like Amy naming her horse Patton “after the American general. Not the actual general. The one from the movie.” The prose, funneled through Z’s narration, never drags; the bungalow where Eric and Charlotte live post-divorce is described as having “the aspect of a man who isn’t growing a beard so much as not shaving.”

An authentic and poignant depiction of the complex, contradictory relationships among family members.