The island setting and characters are done in classic Hilderbrand style, but the balance of backstory to resolution seems...
When a Midwestern businessman is killed in a helicopter crash in the Caribbean, his wife and sons learn that he had a secret life.
The prodigious Hilderbrand (The Perfect Couple, 2018, etc.), author of high-style beach reads set on Nantucket, looks to a new island for her 22nd novel—St. John in the U.S. Virgin Islands. In an introduction, she explains that she has been going to St. John to write for years now and has finally decided to break the mold and share her love of the place in her fiction. However, the story begins in Iowa City, where magazine editor Irene Steele is ringing in the New Year alone, as her husband, Russell, is away on business. The next day she receives a call from a secretary named Marilyn Monroe informing her of his death, and before long, she and her sons, Baker and Cash, are on their way to St. John, a place they've barely heard of, where they will be escorted to a $15 million villa that Russell apparently owned and shared for years with an also-dead longtime lover, Rosie. They will meet Huck, Rosie's stepfather, and Ayers, her best friend, and develop romantic entanglements accordingly. As in the Nantucket novels, Hilderbrand delights in studding her fiction with the real, whether she's telling us what books the characters are reading—the new Curtis Sittenfeld, Lilac Girls, and The Hate U Give, among others—or sending them to actual shops, hotels, restaurants, and bars, with food and drink described in detail. We learn a great deal about the characters' pasts, but little light is shed on the shocking secret at the core of the book, and suspicions raised about Russ Steele's business dealings and the details of the helicopter crash are also left unresolved. Perhaps further volumes of the planned trilogy will tackle all this, but it's a lot to leave up in the air.
The island setting and characters are done in classic Hilderbrand style, but the balance of backstory to resolution seems off.Pub Date: Oct. 9, 2018
ISBN: 978-0-316-43551-2
Page Count: 272
Publisher: Little, Brown
Review Posted Online: Aug. 20, 2018
Kirkus Reviews Issue: Sept. 1, 2018
While there’s little new ground broken, the missing child scenario, when done reasonably well, as it is here, is a reliable...
The search for a missing boy is seen through the split perspective of his frantic mother and the police detective determined to solve the case, despite its deleterious effect on his psychological health.
Newly divorced photographer mum Rachel Jenner thought she was giving her 8-year-old son, Ben Finch, a bit of freedom when she let him run ahead during a walk in a Bristol park. But when Ben vanishes, Rachel immediately blames herself, and the media is quick to paint her as a neglectful parent, too. Macmillan, in her debut, leans a bit hard on the “bad mother” trope, one that’s been well-trodden in recent fiction, but she creates a compellingly complex investigator in DI Jim Clemo. The narrative is split not only between Rachel's and Clemo’s perspectives, but also Clemo’s post-investigation sessions with a department-ordered shrink, indicating that however the Finch investigation turned out, it wasn’t pretty. As Rachel waits and frets at home, often in the company of her high-achieving older sister, Nicky, who clearly knows more than she lets on, Clemo and his fellow officers, including his secret girlfriend, DC Emma Zhang, whom he perhaps unwisely recommended as Family Liaison Officer for the case, try to piece together a case from a dearth of physical evidence. The requisite family secrets come to light, though Macmillan gets credit for some truly clever red herrings.
While there’s little new ground broken, the missing child scenario, when done reasonably well, as it is here, is a reliable hook, and with Macmillan’s taut pacing, this is an engaging debut.Pub Date: Dec. 1, 2015
ISBN: 978-0-06-241386-4
Page Count: 448
Publisher: Morrow/HarperCollins
Review Posted Online: Nov. 2, 2015
BOOK REVIEW
BOOK REVIEW
With its flat, staccato tone and mournful mood, it’s almost as if the book itself were suffering from depression.
A young Philadelphia policewoman searches for her addicted sister on the streets.
The title of Moore’s (The Unseen World, 2016, etc.) fourth novel refers to “a long bright river of departed souls,” the souls of people dead from opioid overdoses in the Philadelphia neighborhood of Kensington. The book opens with a long paragraph that's just a list of names, most of whom don’t have a role in the plot, but the last two entries are key: “Our mother. Our father.” As the novel opens, narrator Mickey Fitzpatrick—a bright but emotionally damaged single mom—is responding with her partner to a call. A dead girl has turned up in an abandoned train yard frequented by junkies. Mickey is terrified that it will be her estranged sister, Kacey, whom she hasn’t seen in a while. The two were raised by their grandmother, a cold, bitter woman who never recovered from the overdose death of the girls' mother. Mickey herself is awkward and tense in all social situations; when she talks about her childhood she mentions watching the other kids from the window, trying to memorize their mannerisms so she could “steal them and use them [her]self.” She is close with no one except her 4-year-old son, Thomas, whom she barely sees because she works so much, leaving him with an unenthusiastic babysitter. Opioid abuse per se is not the focus of the action—the book centers on the search for Kacey. Obsessed with the possibility that her sister will end up dead before she can find her, Mickey breaches protocol and makes a series of impulsive decisions that get her in trouble. The pace is frustratingly slow for most of the book, then picks up with a flurry of revelations and developments toward the end, bringing characters onstage we don’t have enough time to get to know. The narrator of this atmospheric crime novel has every reason to be difficult and guarded, but the reader may find her no easier to bond with than the other characters do.
With its flat, staccato tone and mournful mood, it’s almost as if the book itself were suffering from depression.Pub Date: Jan. 7, 2020
ISBN: 978-0-525-54067-0
Page Count: 496
Publisher: Riverhead
Review Posted Online: Sept. 1, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
BOOK TO SCREEN
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