A mixed bag—the sly comedy and cleverness regarding the fate of modern women (nothing—your body, your house, your...
A British novel asks who is more maddening: a couple of preschool boys, or their man-child father.
Mary loves her children, and everyone tells her she should adore her husband Joel, who is sexy and romantic and so good with their sons. But still…she wishes he wouldn’t throw the dirty laundry in the direction of the basket, and wouldn’t ignore the pots and pans when he’s washing up and expect she do all the boring bits of childcare, and housework and cooking, and then go and impress everyone with his occasional culinary masterpiece. Mary’s list of complaints is so unruly she begins organizing it on a spreadsheet. Unbeknownst to Joel, he has six months to prove himself not totally worthless (she gives him an allotment of points per month) or else she’s going to divorce him. Her best friend Becky is stunned—would she really divorce her husband because of teabags left on the counter? She would. Or at least she believes this until the novel’s end when she realizes there are other issues at play. Unfortunately, this leaves hundreds of pages of Mary’s unpleasantness. Occasionally, Hopkinson’s keen observations are funny, but too often the carping is tedious and the minutia of Mary’s fault-finding comes to seem pathological. Thankfully, there are distractions along the way, like Mary’s obsession with her friend Mitzi’s perfect life (which includes a multimillion-dollar, eco-friendly vacation home, housing spotlessly attired children, cared for by efficient nannies). That is until she discovers the revolting peccadillos of Mitzi and her straitlaced husband. And then there’s Becky, who is considering motherhood but is afraid her partner Cara (whom Mary has a crush on) will leave her. Joel, the center of Mary’s fury, is left in the shadows until the end, when they are forced to either grow up or get divorced.
A mixed bag—the sly comedy and cleverness regarding the fate of modern women (nothing—your body, your house, your children—looks as it does in the magazines) is almost drowned by the relentless anger of the heroine.Pub Date: April 25, 2011
ISBN: 978-0-446-57318-4
Page Count: 384
Publisher: Grand Central Publishing
Review Posted Online: March 2, 2011
Kirkus Reviews Issue: March 1, 2011
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
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.
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. 5, 2018
Kirkus Reviews Issue: Feb. 15, 2018
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