Yes! Yes! Yes! (This is the sound of Alderton's millennial demographic, reading her book.)
A 32-year-old single woman in London copes with disappearances: Her married friends have been swallowed up by reproduction, her father is succumbing to dementia, and she's about to see what kinds of guys are on dating apps.
Nina Dean is just returning to the fray of dating after a period of conscious singlehood following a long-term relationship. She's never been on a dating app and has never heard of "ghosting." Her only remaining single friend, a colorful character named Lola who's quite desperate to settle down, has to explain: " 'Number of schools of thought,' she said, with the command of an academic. 'Most commonly, it is thought to have come from the idea that you are haunted by someone who vanishes, you don't get any closure.' " The dread the reader feels for Nina upon reading this is borne out in spades by the pessimistic plot of this nonetheless amusing novel. A popular columnist and podcaster in Britain, Alderton tackles many of the same themes in her fiction debut that she addressed in her essay collection, Everything I Know About Love (2018). At the end of the day, the author's strengths are more those of an essayist than a novelist. Nina is a bit of an odd character—a food writer who doesn't seem to care much about food or writing—and the plot is fairly predictable except for a ferocious sex scene that seems to have fallen into this book from some other novel. These failings are outweighed by Alderton's funny formulations and essayistic insights: "Being a heterosexual woman who loved men meant being a translator for their emotions, a palliative nurse for their pride and a hostage negotiator for their egos." "I'd noticed this was a thing that people did when they got into their thirties: they saw every personal decision you made as a direct judgement on their life."
Yes! Yes! Yes! (This is the sound of Alderton's millennial demographic, reading her book.)Pub Date: Aug. 3, 2021
ISBN: 978-0-593-31985-7
Page Count: 320
Publisher: Knopf
Review Posted Online: May 18, 2021
Kirkus Reviews Issue: June 1, 2021
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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