A meditation on what it means to step into your authentic self—with all the subsequent confusion and pain laid bare.
New college student Natalie falls in love with Nora, a woman nearly twice her age, in Fischer’s debut novel.
With college looming, Natalie stews about moving to Toronto, and Fischer captures teenage uncertainty brilliantly: “I wondered if I should buy a more specific jacket. One that could quickly show the core elements of my character.” As well as a new city, Natalie is navigating her hitherto unexplored sexuality. When she meets Nora, a grant writer in her 30s who quickly captivates her, she’s prompted to reappraise her self-image: “Who was I, if she was curious about me? Not the person I’d expected myself to be.” Their physical relationship is revelatory for Natalie: “Didn’t I like being dipped into, the breaking surface of myself that still rippled from the afterthought of her touch?” Alongside Natalie’s romantic relationship run a platonic one she has with her dorm-mate Clara and one she witnesses unfold between her poetry professor and an obsessive classmate. She struggles to reconcile her seemingly disparate selves—embarrassed when she finds out that Nora has seen her playing a game of Assassin with her college friends, not knowing how to tell Clara she’s a lesbian, mortified by the dichotomy between her thoughts and the poetry she produces (“Such a slim margin between saying something meaningful and exposing the fallibility of your mind”)—Natalie becomes increasingly fraught with self-doubt. What runs consistently through the novel is the unease of the age and power disparities between Natalie and Nora. While the denouement is in no way shocking, it's satisfyingly dramatic, and Fischer encourages the reader to remember their own first heartbreak. As Natalie looks back on the relationship, she sees her own innocence clearly: “I had been much younger then, hadn’t I?” This insightful novel is alive with vibrant prose, emotional acuity, and complex female characters.
A meditation on what it means to step into your authentic self—with all the subsequent confusion and pain laid bare.Pub Date: May 23, 2023
ISBN: 9781643752723
Page Count: 312
Publisher: Algonquin
Review Posted Online: March 27, 2023
Kirkus Reviews Issue: April 15, 2023
Uneven but fitfully amusing.
Betrayed by her husband, a severely depressed young woman gets drawn into the over-the-top festivities at a lavish wedding.
Phoebe Stone, who teaches English literature at a St. Louis college, is plotting her own demise. Her husband, Matt, has left her for another woman, and Phoebe is taking it hard. Indeed, she's determined just where and how she will end it all: at an oceanfront hotel in Newport, where she will lie on a king-sized canopy bed and take a bottle of her cat’s painkillers. At the hotel, Phoebe meets bride-to-be Lila, a headstrong rich girl presiding over her own extravagant six-day wedding celebration. Lila thought she had booked every room in the hotel, and learning of Phoebe's suicidal intentions, she forbids this stray guest from disrupting the nuptials: “No. You definitely can’t kill yourself. This is my wedding week.” After the punchy opening, a grim flashback to the meltdown of Phoebe's marriage temporarily darkens the mood, but things pick up when spoiled Lila interrupts Phoebe's preparations and sweeps her up in the wedding juggernaut. The slide from earnest drama to broad farce is somewhat jarring, but from this point on, Espach crafts an enjoyable—if overstuffed—comedy of manners. When the original maid of honor drops out, Phoebe is persuaded, against her better judgment, to take her place. There’s some fun to be had here: The wedding party—including groom-to-be Gary, a widower, and his 11-year-old daughter—takes surfing lessons; the women in the group have a session with a Sex Woman. But it all goes on too long, and the humor can seem forced, reaching a low point when someone has sex with the vintage wedding car (you don’t want to know the details). Later, when two characters have a meet-cute in a hot tub, readers will guess exactly how the marriage plot resolves.
Uneven but fitfully amusing.Pub Date: July 30, 2024
ISBN: 9781250899576
Page Count: 384
Publisher: Henry Holt
Review Posted Online: Sept. 13, 2024
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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