Sharply observed and warmly understanding—another fine piece of work from this talented author.

CARRY THE ONE

From a 1983 wedding through Election Day 2008, Anshaw (Lucky in the Corner, 2002, etc.) tracks a Chicago family unsettled by a fatal accident.

It’s no accident that the driver of the car that kills 10-year-old Casey Redman is the extremely stoned girlfriend of Nick, brother of the bride. Nick’s growing addiction is one of the subplots in a tender but often somber story centered on his family. His sister Carmen, whose marriage to Matt sets the plot in motion (and doesn’t last long), is a political activist, marginally more acceptable to their deeply conventional mother Loretta than sibling Alice, an artist and lesbian who suffers an agonizing passion for Matt’s sexually conflicted sister Maude. At least Carmen produces a child, while Alice has made the mistake of competing with their father Horace, an egocentric, domineering painter. Olivia, the stoned driver, goes to jail and straightens up; for a while after she gets out, it seems she’ll keep Nick in line, but he loves getting high too much. Nick, Alice and Carmen are all haunted by memories of the dead girl—Alice knows her series of paintings of Casey are her best work but refuses to show them—yet Anshaw doesn’t suggest the accident fundamentally changed the arcs of their lives; her understanding of human fallibility and existential contingency is too subtle for that kind of artistic determinism. Instead, she quietly follows her characters through the usual stuff of growing up and growing older: marriages, breakups, material success and spiritual uncertainty. Not since Roxana Robinson’s Cost (2008) has a novel so bluntly depicted the impact of addiction on a family, but that isn’t the whole story here. Loving but judgmental Carmen and skittish but fundamentally sound Alice have their own odysseys to pursue; Carmen’s evolving relationships with Gabe, son from her first marriage, and with Rob, the second husband who’s not at all what she thought she wanted, are particularly sensitively drawn.

Sharply observed and warmly understanding—another fine piece of work from this talented author.

Pub Date: March 6, 2012

ISBN: 978-1-4516-3688-8

Page Count: 288

Publisher: Simon & Schuster

Review Posted Online: Jan. 23, 2012

Kirkus Reviews Issue: Feb. 1, 2012

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Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

THEN SHE WAS GONE

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. 6, 2018

Kirkus Reviews Issue: Feb. 15, 2018

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Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.

THE HANDMAID'S TALE

The time is the not-so-distant future, when the US's spiraling social freedoms have finally called down a reaction, an Iranian-style repressive "monotheocracy" calling itself the Republic of Gilead—a Bible-thumping, racist, capital-punishing, and misogynistic rule that would do away with pleasure altogether were it not for one thing: that the Gileadan women, pure and true (as opposed to all the nonbelieving women, those who've ever been adulterous or married more than once), are found rarely fertile.

Thus are drafted a whole class of "handmaids," whose function is to bear the children of the elite, to be fecund or else (else being certain death, sent out to be toxic-waste removers on outlying islands). The narrative frame for Atwood's dystopian vision is the hopeless private testimony of one of these surrogate mothers, Offred ("of" plus the name of her male protector). Lying cradled by the body of the barren wife, being meanwhile serviced by the husband, Offred's "ceremony" must be successful—if she does not want to join the ranks of the other disappeared (which include her mother, her husband—dead—and small daughter, all taken away during the years of revolt). One Of her only human conduits is a gradually developing affair with her master's chauffeur—something that's balanced more than offset, though, by the master's hypocritically un-Puritan use of her as a kind of B-girl at private parties held by the ruling men in a spirit of nostalgia and lust. This latter relationship, edging into real need (the master's), is very effectively done; it highlights the handmaid's (read Everywoman's) eternal exploitation, profane or sacred ("We are two-legged wombs, that's all: sacred vessels, ambulatory chalices"). Atwood, to her credit, creates a chillingly specific, imaginable night-mare. The book is short on characterization—this is Atwood, never a warm writer, at her steeliest—and long on cynicism—it's got none of the human credibility of a work such as Walker Percy's Love In The Ruins. But the scariness is visceral, a world that's like a dangerous and even fatal grid, an electrified fence.

Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.

Pub Date: Feb. 17, 1985

ISBN: 038549081X

Page Count: -

Publisher: Houghton Mifflin

Review Posted Online: Sept. 16, 2011

Kirkus Reviews Issue: Jan. 15, 1985

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