This novel’s romantic problems often fall into routine patterns, but Leuthold’s insights into the transformative power of...



Leuthold’s debut novel explores the lives and loves of an author and one of her devoted readers.

Alexandria Zenobia “Xan” Alexander enjoys her successful career as a writer. Under the pen name XZA, she’s published several edgy, controversial novels that explore the challenges faced by young women. She’s strong and independent, particularly when it comes to relationships. At a book signing, she impulsively flirts with a handsome book reviewer named Michael Singer. Ten years later, Xan is living with him and struggling to find the perfect ending to her latest book. At the same time, she’s trying to come to terms with her past in order to understand why her relationship with Michael has endured. As Xan’s story unfolds, Leuthold offers a parallel narrative about a college student named Jessie. When she receives an unexpected gift of one of Xan’s novels from a former student named Willa, it reignites their friendship. As they bond over the book, Jessie starts to re-evaluate her school and career goals and her on-again, off-again relationship with her unsupportive boyfriend, Dick. Jessie provides an intriguing foil for Xan; although they’re at different stages in their lives, both question why they’re staying in their respective relationships. Unfortunately, these relationships also provide some of the book’s weaker moments. Michael is the perfect lover, caring, loyal and supportive, while Dick is rude, boorish and belittling, which leads to clichéd dilemmas, such as Xan wondering why she’s unable to say “I love you” to Michael and Jessie reflecting on why she clings to her unhealthy relationship. However, the author does skillfully keep the two main plots and multiple supporting characters clear and cohesive while also weaving in passages from XZA’s books. As the chapters alternate between Xan’s and Jessie’s stories, the fictional book passages show Xan’s character and her point of view as a writer.

This novel’s romantic problems often fall into routine patterns, but Leuthold’s insights into the transformative power of literature keep the narrative from becoming predictable.  

Pub Date: Nov. 24, 2013

ISBN: 978-0991131914

Page Count: 354

Publisher: Green Hill Press

Review Posted Online: Feb. 26, 2014

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While a few weeks ago it seemed as if Praeger would have a two month lead over Dutton in their presentation of this Soviet best seller, both the "authorized" edition (Dutton's) and the "unauthorized" (Praeger's) will appear almost simultaneously. There has been considerable advance attention on what appears to be as much of a publishing cause celebre here as the original appearance of the book in Russia. Without entering into the scrimmage, or dismissing it as a plague on both your houses, we will limit ourselves to a few facts. Royalties from the "unauthorized" edition will go to the International Rescue Committee; Dutton with their contracted edition is adhering to copyright conventions. The Praeger edition has two translators and one of them is the translator of Doctor Zhivago Dutton's translator, Ralph Parker, has been stigmatized by Praeger as "an apologist for the Soviet regime". To the untutored eye, the Dutton translation seems a little more literary, the Praeger perhaps closer to the rather primitive style of the original. The book itself is an account of one day in the three thousand six hundred and fifty three days of the sentence to be served by a carpenter, Ivan Denisovich Shukhov. (Solzhenitsyn was a political prisoner.) From the unrelenting cold without, to the conditions within, from the bathhouse to the latrine to the cells where survival for more than two weeks is impossible, this records the hopeless facts of existence as faced by thousands who went on "living like this, with your eyes on the ground". The Dutton edition has an excellent introduction providing an orientation on the political background to its appearance in Russia by Marvin Kalb. All involved in its publication (translators, introducers, etc.) claim for it great "artistic" values which we cannot share, although there is no question of its importance as a political and human document and as significant and tangible evidence of the de-Stalinization program.

Pub Date: June 15, 1963

ISBN: 0451228146

Page Count: 181

Publisher: Praeger

Review Posted Online: Oct. 5, 2011

Kirkus Reviews Issue: June 15, 1963

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Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the...


Hannah’s sequel to Firefly Lane (2008) demonstrates that those who ignore family history are often condemned to repeat it.

When we last left Kate and Tully, the best friends portrayed in Firefly Lane, the friendship was on rocky ground. Now Kate has died of cancer, and Tully, whose once-stellar TV talk show career is in free fall, is wracked with guilt over her failure to be there for Kate until her very last days. Kate’s death has cemented the distrust between her husband, Johnny, and daughter Marah, who expresses her grief by cutting herself and dropping out of college to hang out with goth poet Paxton. Told mostly in flashbacks by Tully, Johnny, Marah and Tully’s long-estranged mother, Dorothy, aka Cloud, the story piles up disasters like the derailment of a high-speed train. Increasingly addicted to prescription sedatives and alcohol, Tully crashes her car and now hovers near death, attended by Kate’s spirit, as the other characters gather to see what their shortsightedness has wrought. We learn that Tully had tried to parent Marah after her father no longer could. Her hard-drinking decline was triggered by Johnny’s anger at her for keeping Marah and Paxton’s liaison secret. Johnny realizes that he only exacerbated Marah’s depression by uprooting the family from their Seattle home. Unexpectedly, Cloud, who rebuffed Tully’s every attempt to reconcile, also appears at her daughter’s bedside. Sixty-nine years old and finally sober, Cloud details for the first time the abusive childhood, complete with commitments to mental hospitals and electroshock treatments, that led to her life as a junkie lowlife and punching bag for trailer-trash men. Although powerful, Cloud’s largely peripheral story deflects focus away from the main conflict, as if Hannah was loath to tackle the intractable thicket in which she mired her main characters.

Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the pages turning even as readers begin to resent being drawn into this masochistic morass.

Pub Date: April 23, 2013

ISBN: 978-0-312-57721-6

Page Count: 416

Publisher: St. Martin's

Review Posted Online: Feb. 18, 2013

Kirkus Reviews Issue: March 1, 2013

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