A delightful read; smooth as ice cream on a hot summer day.

THE ICE-CREAM MAKERS

Giovanni Talamini makes a decision to “break with the family tradition” by walking away from the ice cream business that his great-grandfather Giuseppe began.

In the late 1800s, Giuseppe found his life’s passion, gathering snow from the mountains and creating rich ice cream. Thus begins a business that churns through the lives of four generations of the Talamini family. Giuseppe’s son loved to invent things, but he sublimated his desire and assumed his intended role as ice cream maker. Later, his two sons, Giovanni and Luca, are expected to enter the family business. Giovanni distances himself and heads to college; later he travels the world as director of the World Poetry Festival. Luca remains in the business, finding his passion (or is it a diversion?) in creating unique flavors. In the end, Luca’s son must decide what his role in the family will be. In his U.S. debut, Dutch novelist van der Kwast artfully strings together a series of chapters that could conceivably be stand-alone short stories into a cohesive whole that shows the impact, for better or worse, that family members can have on each other's lives. Giovanni is narrator, observer, and secret keeper. Characters seem to live in a cloud of separation despite being surrounded by those they love. The ultimate decision as to how each character chooses to live affects present and future generations of their family in ways both expected and unexpected. Poetry and history provide the mortar that binds the story together. Van der Kwast tells his multigenerational tale with great sensitivity, demonstrating through powerful observations the long-term effect of one person’s decision upon others throughout the generations.

A delightful read; smooth as ice cream on a hot summer day.

Pub Date: Aug. 1, 2017

ISBN: 978-1-5011-5939-8

Page Count: 320

Publisher: 37 Ink/Simon & Schuster

Review Posted Online: June 6, 2017

Kirkus Reviews Issue: June 15, 2017

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

THEN SHE WAS GONE

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. 6, 2018

Kirkus Reviews Issue: Feb. 15, 2018

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ANIMAL FARM

A FAIRY STORY

A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.

Pub Date: Aug. 26, 1946

ISBN: 0452277507

Page Count: 114

Publisher: Harcourt, Brace

Review Posted Online: Nov. 2, 2011

Kirkus Reviews Issue: Aug. 1, 1946

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