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NORA JANE

A LIFE IN STORIES

Hooray for Nora Jane!

Collected for the first time in one volume, these 14 stories and one new novella chronicle the life and times of the indomitable Nora Jane Whittington.

Early on, Nora Jane’s grandmother tells her that she comes from a long line of strong women with strong genes and must act accordingly. In these stories, Nora Jane, one of National Book Award–winner Gilchrist’s perennial protagonists, does just that. At 19, without family or funds, she learns the art of armed robbery (using a theatrical prop gun) from a handsome anarchist, Sandy, whom she follows from New Orleans to San Francisco. There, she holds up Freddy, the owner of an independent bookstore. At gunpoint, he quotes T.S. Eliot, and later that night they wind up in his hot tub together. Torn between the two men, Nora Jane conceives and gives birth to twin daughters with different fathers. Freddy eventually wins her hand. Over the years, Freddy, Nora Jane and the twins become integral to many who gravitate toward Nora Jane’s outlook on life, which may be summarized thus: Make no plans. Just move as fast as you can in the direction of the people that you love. A renowned film critic abandons his success and returns to academic life, where he meets his wife; a priest discovers that his true calling is to love Mitzi, Nora Jane’s beautician; a mountain lion nicknamed Alabama joins the clan. Even Leonardo da Vinci drops in for a tour of UC Berkeley’s bio-chem lab. Of course, there are earthquakes and tremors, both real and figurative, along the way. And the novella opens with seismic news: Freddy has leukemia. How Nora Jane and her loved ones mobilize to join forces with science and spirituality to save Freddy’s life brings both Gilchrist’s family of characters and her bedrock themes to artful maturation. Very few writers can write intelligent comedy about the philosophical pursuit of happiness. Laurie Colwin was one. Ellen Gilchrist is another.

Hooray for Nora Jane!

Pub Date: Aug. 22, 2005

ISBN: 0-316-05838-6

Page Count: 432

Publisher: Back Bay/Little, Brown

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: June 15, 2005

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THE MOST FUN WE EVER HAD

Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...

Four Chicago sisters anchor a sharp, sly family story of feminine guile and guilt.

Newcomer Lombardo brews all seven deadly sins into a fun and brimming tale of an unapologetically bougie couple and their unruly daughters. In the opening scene, Liza Sorenson, daughter No. 3, flirts with a groomsman at her sister’s wedding. “There’s four of you?” he asked. “What’s that like?” Her retort: “It’s a vast hormonal hellscape. A marathon of instability and hair products.” Thus begins a story bristling with a particular kind of female intel. When Wendy, the oldest, sets her sights on a mate, she “made sure she left her mark throughout his house—soy milk in the fridge, box of tampons under the sink, surreptitious spritzes of her Bulgari musk on the sheets.” Turbulent Wendy is the novel’s best character, exuding a delectable bratty-ness. The parents—Marilyn, all pluck and busy optimism, and David, a genial family doctor—strike their offspring as impossibly happy. Lombardo levels this vision by interspersing chapters of the Sorenson parents’ early lean times with chapters about their daughters’ wobbly forays into adulthood. The central story unfurls over a single event-choked year, begun by Wendy, who unlatches a closed adoption and springs on her family the boy her stuffy married sister, Violet, gave away 15 years earlier. (The sisters improbably kept David and Marilyn clueless with a phony study-abroad scheme.) Into this churn, Lombardo adds cancer, infidelity, a heart attack, another unplanned pregnancy, a stillbirth, and an office crush for David. Meanwhile, youngest daughter Grace perpetrates a whopper, and “every day the lie was growing like mold, furring her judgment.” The writing here is silky, if occasionally overwrought. Still, the deft touches—a neighborhood fundraiser for a Little Free Library, a Twilight character as erotic touchstone—delight. The class calibrations are divine even as the utter apolitical whiteness of the Sorenson world becomes hard to fathom.

Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet another pleasurable tendril of sisterly malice uncurls.

Pub Date: June 25, 2019

ISBN: 978-0-385-54425-2

Page Count: 544

Publisher: Doubleday

Review Posted Online: March 3, 2019

Kirkus Reviews Issue: March 15, 2019

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HOUSE OF LEAVES

The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...

An amazingly intricate and ambitious first novel - ten years in the making - that puts an engrossing new spin on the traditional haunted-house tale.

Texts within texts, preceded by intriguing introductory material and followed by 150 pages of appendices and related "documents" and photographs, tell the story of a mysterious old house in a Virginia suburb inhabited by esteemed photographer-filmmaker Will Navidson, his companion Karen Green (an ex-fashion model), and their young children Daisy and Chad.  The record of their experiences therein is preserved in Will's film The Davidson Record - which is the subject of an unpublished manuscript left behind by a (possibly insane) old man, Frank Zampano - which falls into the possession of Johnny Truant, a drifter who has survived an abusive childhood and the perverse possessiveness of his mad mother (who is institutionalized).  As Johnny reads Zampano's manuscript, he adds his own (autobiographical) annotations to the scholarly ones that already adorn and clutter the text (a trick perhaps influenced by David Foster Wallace's Infinite Jest) - and begins experiencing panic attacks and episodes of disorientation that echo with ominous precision the content of Davidson's film (their house's interior proves, "impossibly," to be larger than its exterior; previously unnoticed doors and corridors extend inward inexplicably, and swallow up or traumatize all who dare to "explore" their recesses).  Danielewski skillfully manipulates the reader's expectations and fears, employing ingeniously skewed typography, and throwing out hints that the house's apparent malevolence may be related to the history of the Jamestown colony, or to Davidson's Pulitzer Prize-winning photograph of a dying Vietnamese child stalked by a waiting vulture.  Or, as "some critics [have suggested,] the house's mutations reflect the psychology of anyone who enters it."

The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly.  One of the most impressive excursions into the supernatural in many a year.

Pub Date: March 6, 2000

ISBN: 0-375-70376-4

Page Count: 704

Publisher: Pantheon

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Feb. 1, 2000

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