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THE LIGHTHOUSE

A peculiar but engrossing family drama, elevated by truly rich characters.

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After 10 years away, a 26-year-old woman returns home to confront her past and rediscover her family in Kozak’s (Root Causes, 2013) novel. 

While in a coffee shop, Leah Larsen does an online search for her parents—as she’s done every so often since running away from home at 16—and discovers that her mother has died. Using what little money she has left, Leah travels to Taos, New Mexico, returning to the family ranch and the prestigious resort that her late grandfather designed, the Lighthouse. There, she finds her beloved aunt and uncle; her father, who greets her with expected “condemnation and contempt”; and Niels, the son whom she’d abandoned after her teenage pregnancy. Another figure, who’s unfamiliar to Leah, is Theo Wilde, her older cousin who tends to the stables. He’s a bit of a black sheep, as she is—a handsome artist who leaves the care of his own young son mostly to his uncle. He immediately feels connected to Leah, the cousin he barely knew, and encourages her to stay. When Theo’s brother Ben also feels compelled to come home to help get the resort’s struggling finances in order, the entire family is together for the first time in a decade. Leah finds herself on a path to uncover deep truths about her own past and her family’s complicated history, all while experiencing motherhood and a surprising new romance. Throughout this novel, Kozak pays particular attention to setting, surrounding her characters with gorgeous mountain scenery and a ranch that’s layered with memories of departed family members; Leah can feel her grandfather’s presence, for instance, “rippling” beneath the walls. The family’s extensive wealth and privilege lowers the stakes, at times—there’s an embezzlement subplot, but there’s little worry that they’ll run out of money—and the book’s unexpected romantic connection may raise eyebrows. But Kozak has crafted warm, inviting, and thoughtful characters here; there’s family bickering, of course, but they mostly speak to one another with fierce intelligence and admirable honesty. Even in dark moments, it’s a pleasure to spend time with them.  

A peculiar but engrossing family drama, elevated by truly rich characters.

Pub Date: N/A

ISBN: 978-0-228-81055-1

Page Count: 355

Publisher: Tellwell Talent

Review Posted Online: Nov. 12, 2019

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SUMMER ISLAND

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with...

Talk-show queen takes tumble as millions jeer.

Nora Bridges is a wildly popular radio spokesperson for family-first virtues, but her loyal listeners don't know that she walked out on her husband and teenaged daughters years ago and didn't look back. Now that a former lover has sold racy pix of naked Nora and horny himself to a national tabloid, her estranged daughter Ruby, an unsuccessful stand-up comic in Los Angeles, has been approached to pen a tell-all. Greedy for the fat fee she's been promised, Ruby agrees and heads for the San Juan Islands, eager to get reacquainted with the mom she plans to betray. Once in the family homestead, nasty Ruby alternately sulks and glares at her mother, who is temporarily wheelchair-bound as a result of a post-scandal car crash. Uncaring, Ruby begins writing her side of the story when she's not strolling on the beach with former sweetheart Dean Sloan, the son of wealthy socialites who basically ignored him and his gay brother Eric. Eric, now dying of cancer and also in a wheelchair, has returned to the island. This dismal threesome catch up on old times, recalling their childhood idylls on the island. After Ruby's perfect big sister Caroline shows up, there's another round of heartfelt talk. Nora gradually reveals the truth about her unloving husband and her late father's alcoholism, which led her to seek the approval of others at the cost of her own peace of mind. And so on. Ruby is aghast to discover that she doesn't know everything after all, but Dean offers her subdued comfort. Happy endings await almost everyone—except for readers of this nobly preachy snifflefest.

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with syrupy platitudes about life and love.

Pub Date: March 1, 2001

ISBN: 0-609-60737-5

Page Count: 336

Publisher: Crown

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Jan. 15, 2001

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LAST ORDERS

Britisher Swift's sixth novel (Ever After, 1992 etc.) and fourth to appear here is a slow-to-start but then captivating tale of English working-class families in the four decades following WW II. When Jack Dodds dies suddenly of cancer after years of running a butcher shop in London, he leaves a strange request—namely, that his ashes be scattered off Margate pier into the sea. And who could better be suited to fulfill this wish than his three oldest drinking buddies—insurance man Ray, vegetable seller Lenny, and undertaker Vic, all of whom, like Jack himself, fought also as soldiers or sailors in the long-ago world war. Swift's narrative start, with its potential for the melodramatic, is developed instead with an economy, heart, and eye that release (through the characters' own voices, one after another) the story's humanity and depth instead of its schmaltz. The jokes may be weak and self- conscious when the three old friends meet at their local pub in the company of the urn holding Jack's ashes; but once the group gets on the road, in an expensive car driven by Jack's adoptive son, Vince, the story starts gradually to move forward, cohere, and deepen. The reader learns in time why it is that no wife comes along, why three marriages out of three broke apart, and why Vince always hated his stepfather Jack and still does—or so he thinks. There will be stories of innocent youth, suffering wives, early loves, lost daughters, secret affairs, and old antagonisms—including a fistfight over the dead on an English hilltop, and a strewing of Jack's ashes into roiling seawaves that will draw up feelings perhaps unexpectedly strong. Without affectation, Swift listens closely to the lives that are his subject and creates a songbook of voices part lyric, part epic, part working-class social realism—with, in all, the ring to it of the honest, human, and true.

Pub Date: April 5, 1996

ISBN: 0-679-41224-7

Page Count: 304

Publisher: Knopf

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Feb. 15, 1996

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