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WHERE THE OLD HIGHWAY HAD RUN

Name: WHERE THE OLD HIGHWAY HAD RUN
Author: Chuck Klein

AMERICAN TALES OF THE ROAD AND BEYOND

by Chuck Klein illustrated by Jack Pumphrey ‧ RELEASE DATE: N/A

Readers who love hot rods, guns and ammo, rock ’n’ roll, and stories of heroic drivers and police are the best audience for...

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These short stories and essays, mostly set within the landscape of southwestern Ohio, explore the overlapping worlds of cars, guns, and cops.

Klein (The BEST of Chuck Klein: How Guns, Hot Rods, Police Ethics and Sacred Rights Shape America, 2013, etc.) grew up hot rodding and became a police officer, interests embodied in both the fiction and nonfiction halves of this book. (There are a few one-offs, like a time-travel fantasy.) The best-drawn characters tend to be the cars; one story’s protagonist is a truck, and Klein’s favorite metaphors are mechanical. In the story “Record Run,” Tommy’s girlfriend is generically “pretty enough,” but Tommy’s car is a “faded black-topped ’51 Ford with custom wheel covers” in which he plans “to install Offenhauser high compression heads and maybe a Clay-Smith cam.” In the title story, a young sheriff’s deputy thinks he and his wife fit together “like a tire to a wheel or a revolver to a holster.” In “Hot Rod Hero,” a woman’s dangerous pregnancy is subsumed by the glorious, heroic driving that gets her to the hospital, a focus that will seem bizarre to most readers, especially with the gimmicky language straight out of Hot Rod Magazine: “He poured the coal to the mighty Mercury flathead.” Klein does convey his enthusiasms, but readers with no appetite for nitty-gritty details like “15”x6.5JJ wheels…with 11” x 2 ½ rear brakes” will find little to enjoy. Gearheads, on the other hand, will find this just the ticket. Some readers may be uncomfortable with Klein’s one-dimensional portrayal of cops; many Americans have experienced police officers as something other than “calm and organized keepers of the peace,” but Klein isn’t interested in such distinctions. The book is illustrated with photos (often of Klein’s own cars) and drawings by Pumphrey.

Readers who love hot rods, guns and ammo, rock ’n’ roll, and stories of heroic drivers and police are the best audience for this book.

Pub Date: N/A

ISBN: N/A

Page Count: -

Publisher: Bud Banis

Review Posted Online: April 29, 2015

Review Program: Kirkus Indie

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THE MOST FUN WE EVER HAD

by Claire Lombardo ‧ RELEASE DATE: June 25, 2019

Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...

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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

Categories:

LITERARY FICTION | FAMILY LIFE & FRIENDSHIP

- AWARDS
Mantel, Woodson on Women’s Prize Longlist

- SEEN & HEARD
Reese’s Book Club Reveals April Pick

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THEN SHE WAS GONE

by Lisa Jewell ‧ RELEASE DATE: April 24, 2018

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

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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.