Such stark scenarios will be cathartic for readers who have dealt with them firsthand, and profoundly cautionary for those...
Harrowing first novel about the uneasy symbiosis of an addict and his mother.
Del Merrick, a retired high-school art teacher, inhabits an upstate New York fieldstone farmhouse, which has become the repository of family tragedy. In 1977, her husband, Lee, shot himself in their barn. In 1995, her younger son Aaron drowned, a probable suicide, after living in isolation in a cabin he built on the Merrick property. Now Del returns from a Florida vacation to find that her heroin-addicted, manic-depressive son Mark has once again hit bottom. He’s holed up in his loft, from which he’s blocked out the sun with blankets. The stone house is a mess: garbage piling up, the reek of chain-smoking, cigarette burn-holes everywhere, nothing but rotting food in the refrigerator, every dish unwashed. Overcoming her winter driving phobia, Del takes Mark to yet another detox center some 300 miles north. Mark, whose point of view alternates with Del’s, is a well-drawn and sympathetic character, despite the unflinching portrayal of his narcissism—there’s no one he won’t manipulate while ricocheting between recovery and relapse. At 62, Del yearns for the artistic release that family turmoil has always denied her, for time to draw or recharge at an art colony. She’s hoping Mark, at 37, is finally ready to launch: He’s entered long-term residential treatment. However, one phone call could disrupt her respite at anytime. Howard’s strength, besides lapidary language, is the ability to build scenes around quotidian activities: starting a wood stove, cleaning, walking a dog, cooking chili and, in a pivotal segment, plotting to banish a large colony of attic-dwelling bats. The red tape and repetitiveness of coping with an addicted adult child fuels suspense as the most pressing question persists: Will Del ever be free of the onus, even just in memory, of caring for all the tormented men in her life?
Such stark scenarios will be cathartic for readers who have dealt with them firsthand, and profoundly cautionary for those who haven’t.Pub Date: April 14, 2009
ISBN: 978-0-15-101432-3
Page Count: 304
Publisher: Houghton Mifflin Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 1, 2009
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
SEEN & HEARD
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
© Copyright 2024 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
bookshelf
