Layered, variable, and, like spoiled orange juice, sometimes complicatedly bitter.
A woman on the cusp of adulthood navigates a troubled relationship with her abusive mother.
Among her siblings, 18-year-old Lily has always been known as their mother’s undisputed favorite—“Mama’s doll,” the only one capable of concocting the semispoiled orange juice May favors and soothing her public meltdowns at grocery stores. Unlike her combative sister, Julia, and anxious lawyer brother, Jacob, Lily hews steadfastly to her mother’s rigid expectations, even dyeing her hair dark and wearing color contacts to appear more Chinese (May is Chinese Peranakan and her husband is White). As Lily prepares to enter Oxford in the fall, she subsists on the faith that she must endure only a few weeks more of her mother’s chaos before escaping. But after May accuses Lily’s father of harboring a secret love for Jacob’s ex-wife, Francie, her unpredictability only accelerates—precipitating a string of dramatic family showdowns, public confrontations, and other crises. Simultaneously, Lily is dogged by increasingly frequent flashbacks of some kind that pop into her consciousness, which she suspects may offer clues to her mother’s tragedy-riddled childhood in Singapore (involving, hazily, a devastating fire, a car accident, and the untimely death of a family member). As the summer passes—and with the help of Lewis, a young professor and kindred spirit—Lily weighs the two selves she’s come to know: the one that’s been rigidly formed in her mother’s image and the other whose outlines are blurrier but full of possibility. Debut author King skillfully brings to light the layered, deeply complex machinations that lurk below the surface in families and confer the fragile impression of normalcy; this family’s crosshairs of obligation, love, and resentment, too, are never oversimplified. May is especially captivating: a veritable tyrant who’s also full of sympathetic, deeply human insecurities. Though a few narrative elements are inelegantly constructed—Lily’s flashbacks often read as a plot device—King expertly weaves a compelling family novel.
Layered, variable, and, like spoiled orange juice, sometimes complicatedly bitter.Pub Date: Aug. 23, 2022
ISBN: 978-1-66260-149-1
Page Count: 256
Publisher: Astra House
Review Posted Online: June 21, 2022
Kirkus Reviews Issue: July 15, 2022
A fresh, funny, ambitious, and nuanced take on some of our oldest existential questions. Cannot wait for the TV series.
What would you do if you knew when you were going to die?
In the first page and a half of her latest page-turner, bestselling Australian author Moriarty introduces a large cast of fascinating characters, all seated on a flight to Sydney that’s delayed on the tarmac. There’s the “bespectacled hipster” with his arm in a cast; a very pregnant woman; a young mom with a screaming infant and a sweaty toddler; a bride and groom, still in their wedding clothes; a surly 6-year-old forced to miss a laser-tag party; a darling elderly couple; a chatty tourist pair; several others. No one even notices the woman who will later become a household name as the “Death Lady” until she hops up from her seat and begins to deliver predictions to each of them about the age they’ll be when they die and the cause of their deaths. Age 30, assault, for the hipster. Age 7, drowning, for the baby in arms. Age 43, workplace accident, for a 42-year-old civil engineer. Self-harm, age 28, for the lovely flight attendant, who is that day celebrating her 28th birthday. Over the next 126 chapters (some just a paragraph), you will get to know all these people, and their reactions to the news of their demise, very well. Best of all, you will get to know Cherry Lockwood, the Death Lady, and the life that brought her to this day. Is it true, as she repeatedly intones on the plane, that “fate won’t be fought”? Does this novel support the idea that clairvoyance is real? Does it find a means to logically dismiss the whole thing? Or is it some complex amalgam of these possibilities? Sorry, you won’t find that out here, and in fact not until you’ve turned all 500-plus pages. The story is a brilliant, charming, and invigorating illustration of its closing quote from Elisabeth Kübler-Ross (we’re not going to spill that either).
A fresh, funny, ambitious, and nuanced take on some of our oldest existential questions. Cannot wait for the TV series.Pub Date: Sept. 10, 2024
ISBN: 9780593798607
Page Count: 512
Publisher: Crown
Review Posted Online: June 15, 2024
Kirkus Reviews Issue: July 15, 2024
PERSPECTIVES
SEEN & HEARD
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.
A falsely accused Black man goes into hiding in this masterful novella by Wright (1908-1960), finally published in full.
Written in 1941 and '42, between Wright’s classics Native Son and Black Boy, this short novel concerns Fred Daniels, a modest laborer who’s arrested by police officers and bullied into signing a false confession that he killed the residents of a house near where he was working. In a brief unsupervised moment, he escapes through a manhole and goes into hiding in a sewer. A series of allegorical, surrealistic set pieces ensues as Fred explores the nether reaches of a church, a real estate firm, and a jewelry store. Each stop is an opportunity for Wright to explore themes of hope, greed, and exploitation; the real estate firm, Wright notes, “collected hundreds of thousands of dollars in rent from poor colored folks.” But Fred’s deepening existential crisis and growing distance from society keep the scenes from feeling like potted commentaries. As he wallpapers his underground warren with cash, mocking and invalidating the currency, he registers a surrealistic but engrossing protest against divisive social norms. The novel, rejected by Wright’s publisher, has only appeared as a substantially truncated short story until now, without the opening setup and with a different ending. Wright's take on racial injustice seems to have unsettled his publisher: A note reveals that an editor found reading about Fred’s treatment by the police “unbearable.” That may explain why Wright, in an essay included here, says its focus on race is “rather muted,” emphasizing broader existential themes. Regardless, as an afterword by Wright’s grandson Malcolm attests, the story now serves as an allegory both of Wright (he moved to France, an “exile beyond the reach of Jim Crow and American bigotry”) and American life. Today, it resonates deeply as a story about race and the struggle to envision a different, better world.
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.Pub Date: April 20, 2021
ISBN: 978-1-59853-676-8
Page Count: 240
Publisher: Library of America
Review Posted Online: March 16, 2021
Kirkus Reviews Issue: April 1, 2021
BOOK TO SCREEN
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