A comic novel that is short on story but abundant in laughs.

EVERYWHERE YOU DON'T BELONG

A sharply funny debut novel that introduces an irreverent comic voice.

Bump tells the story of Claude Mckay Love, a young boy who has been abandoned by his selfish parents in the South Shore neighborhood of Chicago. Raised by his spirited grandmother and her close friend Paul, a lovelorn queer man who suffers tragedy after romantic tragedy, Claude chases affection in a community where yearning is everywhere but real intimacy can be hard to come by. Potential friends, like the gifted basketball player Jonah, come and go, promising affection but always frustrating Claude's hopes. "[My] life went on like that," Claude remembers, "people coming and going, valuable things left in a hurry." Grandma is determined that, despite all this, Claude make something of his life. "I'm not going to lose you. You got something special deep in there," she tells him. But when a street gang–cum–political party called the Redbelters, led by the incorrigible demagogue Big Columbus, instigates a riot after a police killing of a young boy, Claude's entire life is turned upside down. In the riot's aftermath, Claude latches onto journalism as his passion, something that might lift him out of the South Side. It takes him from Chicago to Missouri, but when an old crush and family friend turns up in his college dorm one day, Claude learns that escaping the past is easier said than done. Bump brings a manic yet reflective energy to Claude's story. By telling it in short vignettes rather than a traditional narrative, he creates striking images and memorable dialogue that vibrate with the life of Chicago's South Side. Exchanges like one between Jonah's parents and Paul—over whether New York or Chicago is the mecca of basketball—are genuinely hilarious. The novel is almost devoid of a real plot or anything resembling well-rounded characters and threatens to become repetitive at times. In the end, though, Bump's voice is so distinct and funny that a reader might overlook those shortcomings.

A comic novel that is short on story but abundant in laughs.

Pub Date: Feb. 4, 2020

ISBN: 978-1-61620-879-0

Page Count: 272

Publisher: Algonquin

Review Posted Online: Dec. 9, 2019

Kirkus Reviews Issue: Jan. 1, 2020

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Finding positivity in negative pregnancy-test results, this depiction of a marriage in crisis is nearly perfect.

ALL YOUR PERFECTS

Named for an imperfectly worded fortune cookie, Hoover's (It Ends with Us, 2016, etc.) latest compares a woman’s relationship with her husband before and after she finds out she’s infertile.

Quinn meets her future husband, Graham, in front of her soon-to-be-ex-fiance’s apartment, where Graham is about to confront him for having an affair with his girlfriend. A few years later, they are happily married but struggling to conceive. The “then and now” format—with alternating chapters moving back and forth in time—allows a hopeful romance to blossom within a dark but relatable dilemma. Back then, Quinn’s bad breakup leads her to the love of her life. In the now, she’s exhausted a laundry list of fertility options, from IVF treatments to adoption, and the silver lining is harder to find. Quinn’s bad relationship with her wealthy mother also prevents her from asking for more money to throw at the problem. But just when Quinn’s narrative starts to sound like she’s writing a long Facebook rant about her struggles, she reveals the larger issue: Ever since she and Graham have been trying to have a baby, intimacy has become a chore, and she doesn’t know how to tell him. Instead, she hopes the contents of a mystery box she’s kept since their wedding day will help her decide their fate. With a few well-timed silences, Hoover turns the fairly common problem of infertility into the more universal problem of poor communication. Graham and Quinn may or may not become parents, but if they don’t talk about their feelings, they won’t remain a couple, either.

Finding positivity in negative pregnancy-test results, this depiction of a marriage in crisis is nearly perfect.

Pub Date: July 17, 2018

ISBN: 978-1-5011-7159-8

Page Count: 320

Publisher: Atria

Review Posted Online: May 1, 2018

Kirkus Reviews Issue: May 15, 2018

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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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