Next book

ALL WE EVER WANTED

A compelling portrait of a woman facing the difficult limits of love.

The day after Nina Browning's son, Finch, is accepted to Princeton, he makes a terrible decision, and Nina's perfect life comes crashing down.

Raised in the small town of Bristol, on the border of Tennessee and Virginia, Nina married well. Her husband, Kirk, and she have raised Finch among Nashville’s privileged, well-manicured mansions, sending him to the prestigious Windsor Academy. Yet an alcohol-soaked party ends with Finch snapping compromising pictures of an unconscious young woman, Lyla Volpe, a sophomore on scholarship to Windsor. The photos spread like wildfire through the town, leaving Lyla devastated. Her father, Tom, a carpenter struggling to raise Lyla alone after her mother deserted them, is determined to exact justice from the school’s Honor Council. Nina is dismayed to find Finch and Kirk blithely unconcerned about Lyla's feelings or Finch’s crime. They are far more interested in using the Browning family wealth to convince the school and Tom to turn a blind eye—not to mention using Finch’s sexual magnetism to manipulate Lyla’s emotions. Distraught, Nina forges friendships with Tom and Lyla, which will expose the fault lines in her own family. Giffin (First Comes Love, 2016, etc.) shifts perspectives from chapter to chapter, giving voice to Lyla’s teenage fears of social repercussions and Tom’s efforts to balance his fierce protective streak with his desire to give his daughter her freedom. Yet it is Nina’s chapters that ring most powerfully, as Giffin captures the complexity of Nina’s emotions: Her maternal instincts to protect her son war against her feminist alliance with the wronged Lyla; her wistful memories of her beloved little boy wrestle with her outrage at his racist, sexist, and increasingly devious young adult behavior; and her carefully constructed sense of family fractures against her realization that Kirk may not be the husband, father, or man she thought he was.

A compelling portrait of a woman facing the difficult limits of love.

Pub Date: June 26, 2018

ISBN: 978-0-399-17892-4

Page Count: 352

Publisher: Ballantine

Review Posted Online: May 14, 2018

Kirkus Reviews Issue: June 1, 2018

Next book

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

Next book

THEN SHE WAS GONE

Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

Ten years after her teenage daughter went missing, a mother begins a new relationship only to discover she can't truly move on until she answers lingering questions about the past.

Laurel Mack’s life stopped in many ways the day her 15-year-old daughter, Ellie, left the house to study at the library and never returned. She drifted away from her other two children, Hanna and Jake, and eventually she and her husband, Paul, divorced. Ten years later, Ellie’s remains and her backpack are found, though the police are unable to determine the reasons for her disappearance and death. After Ellie’s funeral, Laurel begins a relationship with Floyd, a man she meets in a cafe. She's disarmed by Floyd’s charm, but when she meets his young daughter, Poppy, Laurel is startled by her resemblance to Ellie. As the novel progresses, Laurel becomes increasingly determined to learn what happened to Ellie, especially after discovering an odd connection between Poppy’s mother and her daughter even as her relationship with Floyd is becoming more serious. Jewell’s (I Found You, 2017, etc.) latest thriller moves at a brisk pace even as she plays with narrative structure: The book is split into three sections, including a first one which alternates chapters between the time of Ellie’s disappearance and the present and a second section that begins as Laurel and Floyd meet. Both of these sections primarily focus on Laurel. In the third section, Jewell alternates narrators and moments in time: The narrator switches to alternating first-person points of view (told by Poppy’s mother and Floyd) interspersed with third-person narration of Ellie’s experiences and Laurel’s discoveries in the present. All of these devices serve to build palpable tension, but the structure also contributes to how deeply disturbing the story becomes. At times, the characters and the emotional core of the events are almost obscured by such quick maneuvering through the weighty plot.

Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

Pub Date: April 24, 2018

ISBN: 978-1-5011-5464-5

Page Count: 368

Publisher: Atria

Review Posted Online: Feb. 5, 2018

Kirkus Reviews Issue: Feb. 15, 2018

Close Quickview