An appealing debut novel despite a few missteps.
An ex-actress and her son trek across America, hitting comics conventions along the way in Proehl’s (Flying Burrito Brothers’ The Gilded Palace of Sin, 2008) first novel.
Six years ago, Valerie Torrey was the star of Anomaly, an X-Files–like sci-fi TV show about two time-travel agents, which has obsessive fans. When an unimaginable tragedy struck, Valerie took her son, Alex, and fled LA for New York, leaving her show and her co-star husband, Andrew Rhodes, behind. Now, she and 9-year-old Alex are headed back across the country to meet with Andrew, and as they travel, the story deftly weaves past and present events until the full account of what happened years earlier is revealed. Along the way, Valerie makes appearances at comic-book conventions, where she meets Gail, a comics writer who draws attention to gender inequality, and Brett, a struggling illustrator. Proehl’s observations about convention life are especially keen and insightful without being sneering or belittling. But by trying to appeal to comics fans and nonfans alike, the book sometimes breaks down. For example, in one chapter (conveniently titled “Women in Refrigerators”), Gail discusses at length how comics creators often kill female characters solely to spur male characters to action. While this is an important issue, Proehl just reiterates what most thoughtful comics readers already know, while possibly boring everyone else. The same could be said of Proehl’s roman-à-clef-for-nerds concept: some might enjoy the endless array of thinly veiled icons (e.g. Gillian Anderson and David Duchovny, as well as comics writer Gail Simone, to name a few), but those not fully in the know may feel left behind. The prose sometimes lurches into overwrought, look-at-my–MFA style writing, but it’s a testament to Proehl’s talents that these stumbles never detract from the rest of the story, which is a genuine and often moving tale of a mother and her son.
An appealing debut novel despite a few missteps.Pub Date: June 28, 2016
ISBN: 978-0-399-56221-1
Page Count: 368
Publisher: Viking
Review Posted Online: March 29, 2016
Kirkus Reviews Issue: April 15, 2016
BOOK REVIEW
PROFILES
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
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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