Deft narration fails to eclipse the inherent shortcomings in this patchy satire of entitlement (literally) with sentimental...
An eccentric family of British aristocrats, their decaying ancestral home, and the financial crash of 2008 are the ingredients of Rothschild's (The Improbability of Love, 2015, etc.) romantic/comic fairy tale.
Downton Abbey has nothing on 800-year-old Trelawney Castle with its four miles of hallways, a room for each day of the year, and 85 members of staff. But that was in its heyday. Now Kitto, the future 25th Earl of Trelawney, is on his financial uppers, presiding over a freezing, crumbling semi-ruin. His wife, Jane, has sunk her own money into the castle but is still struggling to feed herself, their three children, and Kitto’s aging parents, the current earl and countess. Kitto’s sister Blaze, a talented stock picker at a London hedge fund, does have some money, but her company has just been bought by ruthless opportunist Thomlinson Sleet, which puts her in jeopardy. The plot starts to move when Jane and Blaze receive letters from their old college friend Anastasia, now dying and asking them to care for her daughter, Ayesha. The banking crisis swallows Kitto’s remaining money, and Jane kicks him out. After a family death, Blaze comes to the castle’s rescue, although she's distracted by an on-and-off love affair with much nicer hedge fund squillionaire Joshua Wolfe. Rothschild writes well about these elite milieus, but hers is a broad, pantomime-ish tale stocked with simple, one-dimensional characters: flabby villain Sleet; indefatigably decent, endlessly deferred Wolfe; tirelessly sneery oldest son Ambrose. The flow is uneven—Kitto disappears for half the story; Blaze is exhaustingly inconsistent—and the book is both long and weakly paced. Trelawney does, however, finally get the upgrade it needs, and its dysfunctional family may be positioned for a sequel.
Deft narration fails to eclipse the inherent shortcomings in this patchy satire of entitlement (literally) with sentimental touches.Pub Date: Feb. 11, 2020
ISBN: 978-0-525-65491-9
Page Count: 368
Publisher: Knopf
Review Posted Online: Nov. 24, 2019
Kirkus Reviews Issue: Dec. 15, 2019
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
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