The humor seems strained in this comedy of errors, manners, and money.

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THE WINDFALL

A middle-aged Delhi couple find themselves suddenly wealthy.

Mr. and Mrs. Jha are no longer young when they suddenly come into a great deal of money. Mr. Jha has sold a website he created. The money allows the Jhas to move from their East Delhi housing complex to Gurgaon, a much ritzier neighborhood, where each house has a gate, a guard, and sometimes a swimming pool. Mr. Jha throws himself into their new lifestyle, ordering a couch embedded with Swarovski crystals (which turns out to be as uncomfortable as it sounds). Mrs. Jha, meanwhile, can’t convince herself to use the new hot showers, preferring instead to stick with the bucket and mug she’s used to. In the meantime, the Jhas’ son, Rupak, is studying for his MBA in New York. His parents don’t know it yet, but he’s failing his classes. Worse, he’s trying to balance two women: Indian Serena, who rather resembles his mother; and blonde, American Elizabeth, whom Rupak can’t imagine fitting in to his Indian life. Basu’s debut novel is a funny, deceptively light treatment of money and manners in modern-day Delhi. Mr. Jha suffers from a bad case of keeping-up-with-the-Joneses—though in this case it’s the Chopras next door, and they’ve gone so far as to have a reproduction of the Sistine Chapel installed in their foyer ceiling. Then, too, there’s Mrs. Ray, a young widow from the Jhas’ old neighborhood who is soon thrown together with Mr. Chopra’s well-to-do brother, with predictable results. Basu manages these various storylines well, and her writing is sincere. But at times the humor feels forced, strained. Each of the characters is flawed, but those flaws seem to elicit pity rather than sympathy. At a certain point, their moneyed lives don’t seem as funny as they do alienating and sad. There’s something unsettling about all this that the ending does nothing to assuage, though it seems to want to.

The humor seems strained in this comedy of errors, manners, and money.

Pub Date: June 27, 2017

ISBN: 978-0-451-49891-5

Page Count: 304

Publisher: Crown

Review Posted Online: April 2, 2017

Kirkus Reviews Issue: April 15, 2017

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

THEN SHE WAS GONE

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. 6, 2018

Kirkus Reviews Issue: Feb. 15, 2018

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With her second novel, Ng further proves she’s a sensitive, insightful writer with a striking ability to illuminate life in...

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LITTLE FIRES EVERYWHERE

This incandescent portrait of suburbia and family, creativity, and consumerism burns bright.

It’s not for nothing that Ng (Everything I Never Told You, 2014) begins her second novel, about the events leading to the burning of the home of an outwardly perfect-seeming family in Shaker Heights, Ohio, circa 1997, with two epigraphs about the planned community itself—attesting to its ability to provide its residents with “protection forever against…unwelcome change” and “a rather happy life” in Utopia. But unwelcome change is precisely what disrupts the Richardson family’s rather happy life, when Mia, a charismatic, somewhat mysterious artist, and her smart, shy 15-year-old daughter, Pearl, move to town and become tenants in a rental house Mrs. Richardson inherited from her parents. Mia and Pearl live a markedly different life from the Richardsons, an affluent couple and their four high school–age children—making art instead of money (apart from what little they need to get by); rooted in each other rather than a particular place (packing up what fits in their battered VW and moving on when “the bug” hits); and assembling a hodgepodge home from creatively repurposed, scavenged castoffs and love rather than gathering around them the symbols of a successful life in the American suburbs (a big house, a large family, gleaming appliances, chic clothes, many cars). What really sets Mia and Pearl apart and sets in motion the events leading to the “little fires everywhere” that will consume the Richardsons’ secure, stable world, however, is the way they hew to their own rules. In a place like Shaker Heights, a town built on plans and rules, and for a family like the Richardsons, who have structured their lives according to them, disdain for conformity acts as an accelerant, setting fire to the dormant sparks within them. The ultimate effect is cataclysmic. As in Everything I Never Told You, Ng conjures a sense of place and displacement and shows a remarkable ability to see—and reveal—a story from different perspectives. The characters she creates here are wonderfully appealing, and watching their paths connect—like little trails of flame leading inexorably toward one another to create a big inferno—is mesmerizing, casting into new light ideas about creativity and consumerism, parenthood and privilege.

With her second novel, Ng further proves she’s a sensitive, insightful writer with a striking ability to illuminate life in America.

Pub Date: Sept. 12, 2017

ISBN: 978-0-7352-2429-2

Page Count: 384

Publisher: Penguin Press

Review Posted Online: June 20, 2017

Kirkus Reviews Issue: July 1, 2017

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