A richly textured and deeply felt tale of life and tragedy turned into art.
A graduate student descends into madness while contemplating the relationship between the celebrated novelist James Joyce and his daughter in this labyrinthine literary mystery.
Lombardi’s novel centers on a woman who lands in a Baltimore mental hospital in 1993, where she responds to questions with enigmatic quotations from Shakespeare, T.S. Eliot, Virginia Woolf, and Joyce. She is diagnosed with schizophrenia and identified as Molly O’Donnell, a graduate student at Johns Hopkins University—hence the compulsive literary allusions—and the daughter of deceased Joyce scholar Will O’Donnell. Family, friends, and staffers try to coax her out of her psychosis but with little success. When she’s not in a medicated stupor, she’s acting out by starting fires or trying to seduce a male nurse. Interspersed with Molly’s travails in the psych ward are diary entries she wrote before her psychotic break. These cover her affairs with a married professor and a concert violinist; her vexed relationships with her alcoholic mother, domineering brother, and fragile sister; and her dissertation on the similarities between Joyce’s famously incoherent novel Finnegans Wake and the language used by schizophrenics. Her research zeroes in on Joyce’s daughter, Lucia, a schizophrenic whose symptoms mirror those Molly will display in the hospital. She theorizes that the woman’s disjointed utterances inspired Finnegans Wake and starts seeing apparitions of a derelict Lucia. Molly eventually plunges into sinister conjectures about Joyce’s relationship with his daughter, which start to color her memories of Will. Lombardi’s sprawling novel is an intense, well-observed portrait of a psychiatric patient and the obsessions that slowly undermine her sanity; an engrossing picture of literary sleuthing; a cri de coeur against intimate predations; and a moving depiction of a family torn by ugly secrets. The author’s prose has a vivid immediacy, whether she’s registering intense emotion—“How can you breathe when your lungs keep collapsing on you, like the emphysema of some five-pack-a-day smoker?” wonders Molly after a lover blithely dumps her—or a reflective lyricism. (A patient “walked alongside Molly, speaking softly to her; as they passed under the weeping willow trees Molly’s face was childlike, upturned, her slow movements for once acquiring something resembling grace.”) The result is a very Joycean exploration of a troubled psyche revealed in evocative prose.
A richly textured and deeply felt tale of life and tragedy turned into art.Pub Date: Dec. 14, 2022
ISBN: 9781736244470
Page Count: 508
Publisher: Mumblers Press LLC
Review Posted Online: Dec. 19, 2022
Kirkus Reviews Issue: Feb. 15, 2023
Review Program: Kirkus Indie
BOOK REVIEW
BOOK REVIEW
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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