An enthusiastic engagement of Austen’s juvenilia that will be of interest to her very devoted fans.
A reimagined version of Jane Austen’s 1790 novella Love and Freindship [sic] complements this partial collection of Austen’s early works.
Andrews’ (The Unforgiving Eye, 2014, etc.) expansion of Austen’s early epistolary tale begins with a new frame story, narrated by a woman named Marianne. In Austen’s original, Marianne only serves as a device to prompt her mother’s friend Laura Lindsay to disgorge a tale of her own bizarre life. Andrews wisely draws Marianne as a fuller character—curious, skeptical, and circumspect—who’d be very much at home in a later Austen novel. (For example, Marianne struggles with doubts about her upcoming marriage.) The story then shifts to the main plot of Austen’s original story, focusing on Laura’s recounting of her youth, starting with her first encounter with her husband, Edward Lindsay. When they meet, Edward is horrified by the idea of marriage to Lady Dorothea, who’s “wealthy and titled” and, worse, meets with his father’s approval. After he and Laura marry instead, their travels take them first to the home of Augustus and Sophia, a young couple who share their devotion to romance and opulence. Laura’s story progresses with absurd coincidences—she meets her never-before-seen grandfather and a few cousins in a single chance encounter—and dramatic turns from which she draws misguided conclusions. Many passages are near verbatim from Austen’s original text, but Andrews’ humor is broader; the expanded tale is peppered with jokes, including one about the house of a family called the MacDonalds, which features “golden arches,” and an allusion to Bridget Jones’s Diary. There are times when this heightened jokiness pays off, as in Laura’s repeated clarification to the widowed Sophia that her own husband lives while “Augustus is still dead.” The rest of the volume consists of Austen’s original text of Love and Freindship and other works of juvenilia. These display Austen’s vacillations between satirical impulses and the psychological observations of her mature writing. However, this section would have benefited from editorial notes; it’s hard not to suspect when reading a long, winking section, for example, on “the art of cutting a slice of cold Beef,” that one is missing a joke.
An enthusiastic engagement of Austen’s juvenilia that will be of interest to her very devoted fans.Pub Date: N/A
ISBN: N/A
Page Count: -
Publisher: Crowood Press
Review Posted Online: Nov. 29, 2016
Kirkus Reviews Issue: Jan. 1, 2017
Review Program: Kirkus Indie
BOOK REVIEW
Packed with riveting drama and painful truths, this book powerfully illustrates the devastation of abuse—and the strength of...
Hoover’s (November 9, 2015, etc.) latest tackles the difficult subject of domestic violence with romantic tenderness and emotional heft.
At first glance, the couple is edgy but cute: Lily Bloom runs a flower shop for people who hate flowers; Ryle Kincaid is a surgeon who says he never wants to get married or have kids. They meet on a rooftop in Boston on the night Ryle loses a patient and Lily attends her abusive father’s funeral. The provocative opening takes a dark turn when Lily receives a warning about Ryle’s intentions from his sister, who becomes Lily’s employee and close friend. Lily swears she’ll never end up in another abusive home, but when Ryle starts to show all the same warning signs that her mother ignored, Lily learns just how hard it is to say goodbye. When Ryle is not in the throes of a jealous rage, his redeeming qualities return, and Lily can justify his behavior: “I think we needed what happened on the stairwell to happen so that I would know his past and we’d be able to work on it together,” she tells herself. Lily marries Ryle hoping the good will outweigh the bad, and the mother-daughter dynamics evolve beautifully as Lily reflects on her childhood with fresh eyes. Diary entries fancifully addressed to TV host Ellen DeGeneres serve as flashbacks to Lily’s teenage years, when she met her first love, Atlas Corrigan, a homeless boy she found squatting in a neighbor’s house. When Atlas turns up in Boston, now a successful chef, he begs Lily to leave Ryle. Despite the better option right in front of her, an unexpected complication forces Lily to cut ties with Atlas, confront Ryle, and try to end the cycle of abuse before it’s too late. The relationships are portrayed with compassion and honesty, and the author’s note at the end that explains Hoover’s personal connection to the subject matter is a must-read.
Packed with riveting drama and painful truths, this book powerfully illustrates the devastation of abuse—and the strength of the survivors.Pub Date: Aug. 2, 2016
ISBN: 978-1-5011-1036-8
Page Count: 320
Publisher: Atria
Review Posted Online: May 30, 2016
Kirkus Reviews Issue: June 15, 2016
SEEN & HEARD
SEEN & HEARD
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
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