An often engaging portrayal of a woman re-examining everything that’s made her the person she is.
In the second installment of Keller’s (Behind the Scenes of Jenna Shale, 2016) series, a woman reflects on the loves and trials in her life, with her memories taking the form of TV episodes.
Not long after Jenna finally marries Aiden Castoron, her on-again, off-again boyfriend of nearly a decade, someone guns him down in front of their home. Devastated, she falls into a depression and seeks solace in the arms of Kurt Jamison; they’d had a brief affair, just before he temporarily married her mother. Soon afterward, she finds herself torn between two other men: Shawn Merrill, her ex-husband and the father of her young twins, Michelle and Collin; and Tony, her former dance partner and Aiden’s brother. She genuinely loves the latter, but Tony is married and not planning on getting a divorce. As the years pass, Jenna has other sexual partners, and although she distinguishes true lovemaking from basic carnal desire, she tends to have affection for all the people she’s with. It seems, however, that she’s searching for someone like Aiden, who can offer and willingly accept as deep a love as her own. Still, Jenna’s heightened sex drive gets her labeled as promiscuous. Later on, she becomes the victim of a violent confrontation, and she also endures troubles with her children as they hit their teens. Keller’s second book adopts the same format as her first, presenting pieces of Jenna’s life as episodes of various television series, from Everybody Tolerates Shawn to The Bad Girlfriend. It’s an effective technique, and it’s clearly shown to be a coping mechanism for the troubled protagonist. There’s plenty of humor, though: sex scenes are prefaced with “Reader discretion is advised,” while intermittent news flashes or commercials are amusingly cynical—noting, for example, that people won’t loan cars to strangers, but they will ask them to watch their kids. A strong, convincing feminist theme prevails throughout; the main character beds whomever she chooses, and she isn’t portrayed as desperate to have another person care for her. Nevertheless, the erotic encounters eventually become repetitive, with characters spending pages discussing the sex they’re about to have—or that they’ve just had.
An often engaging portrayal of a woman re-examining everything that’s made her the person she is.Pub Date: Nov. 18, 2016
ISBN: 978-1-5246-4617-2
Page Count: 496
Publisher: AuthorHouse
Review Posted Online: Dec. 29, 2016
Review Program: Kirkus Indie
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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