This trip to Wonderland delivers a mature, lasting jolt.
This YA fantasy debut sees Alice return to Wonderland to thwart the Queen of Hearts’ madness.
The year is 1888, and 15-year-old Alice Liddell is in the Warneford Asylum in Oxford. She’s been placed in Dr. Longfellow’s psychiatric care since nearly drowning in a river and returning from the magical realm of Wonderland. At school, Headmistress Collins had grown tired of her “childish nonsense” regarding the Cheshire Cat, the Caterpillar, and others. Yet Alice continues to keep her memories alive in a notebook filled with sketches that she hides below the floorboards of her room. One day, she finds the halls of the asylum replaced by those of her home. She wanders through the familiar, empty place and outside to the river. “You’re late,” says the White Rabbit, or Sir Ralph of Longshoot (as he’s truly known). He informs Alice that the Queen of Hearts has gone “stark raving mad” and beheaded the king. Further, Alice must return to—and save—Wonderland. After waking from what might have been a dream, Alice receives a visit from her mother. She learns that her sister, Mary, is getting married, and everyone hopes she’ll be healthy enough to attend the wedding. Arrangements proceed for Swiss Dr. Gottlieb Burckhardt to surgically cure Alice of her delusions once and for all. In this historically relevant fantasy, Ramsay honors Lewis Carroll’s work while expanding how readers connect with Wonderland. The humor lines up perfectly with the 19th-century source material, as when the Queen of Hearts asserts: “You must slouch. Everyone slouches in my presence.” Ramsay also offers excellent philosophical bons mots, including this White Rabbit gem: “You’re supposed to be wherever you belong.” An intriguing, though dark, surprise awaits in the character of Burckhardt, an actual pioneer of psychosurgery (for example, lobotomy) who began administering crude procedures in 1888. It’s bittersweet that in Wonderland, Alice meets the Prince of Hearts and his presence takes “away all the confusion and fear.” But she nevertheless comes to realize that “something was missing deep inside...that made Alice...Alice.” A harrowing finale closes this mostly playful narrative.
This trip to Wonderland delivers a mature, lasting jolt.Pub Date: N/A
ISBN: N/A
Page Count: 347
Publisher: Red Rogue Press
Review Posted Online: Jan. 10, 2019
Kirkus Reviews Issue: Feb. 15, 2019
Review Program: Kirkus Indie
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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