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THE RETURN OF HALF-SOMETHING

A protagonist of conviction braves discrimination and a potentially dangerous corporation.

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A New Yorker of mixed heritage believes his destiny lies in his African ancestral homeland in this dramatic novel.

In 1993, 17-year-old Emmanuel’s father, Uchechi, tells him that his destiny awaits him in the African kingdom of Umuati. Uchechi believes his American son will somehow need to help Umuati battle injustice and oppression and that failure to do so will curse Emmanuel. A decade later, Emmanuel resides in Manhattan with a Ph.D. from Columbia Law School but still hasn’t visited Umuati. He falls for Rebecca Levitt, who’s vice president at her father Reuben’s brokerage firm, Peak Management Group. Emmanuel even takes a job at the firm to get close to Rebecca. But Reuben disapproves of their inevitable romance, primarily because Emmanuel, who’s biracial, isn’t Jewish like the Levitts. Emmanuel fights for the chance to marry Rebecca and, soon after, finds a way he can assist Umuati. An oil-field explosion there has resulted in fatalities and a devastating oil spill. Emmanuel calls Umuati’s regent and offers, pro bono, to file a lawsuit against the company responsible, Sooli Oil. This entails finally traveling to Umuati, where Emmanuel surprisingly faces some resistance. After the evidence he has gathered inexplicably vanishes, Emmanuel and others learn there may be a spy working for Sooli, which ultimately leads to murder and a kidnapping. But it’s the opportunity to move to Umuati that presents Emmanuel with his greatest challenge, as Rebecca’s refusal to leave her U.S. home may threaten their prospective future together. Emmanuel’s convincing motivations propel Eze’s (Leadership Stories of Mother Hen, 2012, etc.) engrossing, character-driven story. For example, destiny plays a large role in the protagonist’s decisions, be it pursuing Rebecca or coming to the aid of Umuati. This stems from Uchechi’s forecasting his son’s fate and possible curse; just days later, Emmanuel tragically lost both parents in a storm-related boating accident. Similarly, he has thrived academically in spite of the discrimination he faced from school bullies calling him half-breed or “merboy” (half fish, half boy). Emmanuel later overcomes adversaries in Umuati who see him as an outcast. He has an Umuati name, Nkemefuna, and knows the language but is unfamiliar with the culture. The first third of the novel centers on Emmanuel’s growing relationship with Rebecca. It’s a rewarding subplot, though some of his behavior is more obsessive than romantic. For instance, when she seems reluctant to further the relationship, Emmanuel asks his cousin Anna to befriend Rebecca. He’s certain that the friendship will help him win Rebecca. Regardless, his sweet words to her are often charming: “If I ever live this life again, let it always be with you, my love.” The plot shift to the lawsuit adds tension and suspense. Individuals opposing the suit put Emmanuel in unmistakable peril, but the courtroom scenes are intense as well, as the protagonist fights a multibillion-dollar company. Female characters are strong, particularly Anna, who, in a flashback, doesn’t hesitate to warn a sexist, racist biker against calling her a “bitch.”

A protagonist of conviction braves discrimination and a potentially dangerous corporation.

Pub Date: N/A

ISBN: N/A

Page Count: 304

Publisher: SEVHAGE

Review Posted Online: Nov. 30, 2018

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THE MOST FUN WE EVER HAD

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

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THEN SHE WAS GONE

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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