An absorbing novel of destructive love, false friends, and the cruelty of fate.
An adjunct professor falls prey to addiction.
The prolific Havel (Charlie Zero’s Last-Ditch Attempt, 2016, etc.) changes key in his latest novel, a chamber piece about friendship and drugs. Archie, the narrator, is a study in low self-esteem. He second-guesses himself, the people around him, and those friends who share his skin color (Archie is black) and who want to aspire to something other than second-class status. “I was making all types of mistakes at the bank,” Archie tells readers just after they meet him, “so I just resigned, because I knew I was incompetent.” Most mornings, on the way to his new job as a postal clerk, he drives his best friend, Reginald Meeks, to Reginald’s own job as an adjunct professor at a local school. Reginald is a dreamer and an intellectual but he’s also “forever a part of the temporary workers’ economy,” the fate of so many adjuncts in America. Things seem to be looking up for Reginald when he falls for Wonder Robins, a white student with an open mind. Archie is suspicious of his friend’s race-mixing, making for an uncomfortable conversation and a difficult read. But Archie changes his opinion entirely once he sees Reginald falling for Bianca instead, a party girl from the neighborhood who drugs Reginald (first with Ecstasy, then with cocaine) and violently seduces him. As Reginald falls into a downhill spiral, Archie—ostensibly a mere narrator—emerges as the tale’s most complex character, in some ways more engaging than Reginald. Archie laments “unschooled blacks with amazing potential wasted on the refuse of popular music and culture” while at the same time rolling his eyes at his friend’s aspirations: “By the time it takes to give a solid course in Black History, we’ll all be brainwashed and won’t know what our history is anyway.” The plot moves swiftly and the pages turn, but what keeps the reader most engaged is Archie in his endless contradictions: is he a supportive friend or a selfish saboteur? Despite a tendency to fall back on the same plot devices (various characters secretly drug one another a bit too often here), this story remains intriguing for the most part.
An absorbing novel of destructive love, false friends, and the cruelty of fate.Pub Date: Dec. 1, 2016
ISBN: N/A
Page Count: 232
Publisher: Lulu
Review Posted Online: Jan. 16, 2017
Review Program: Kirkus Indie
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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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