The pleasures of violence, suspense, and local color are here in about equal measure. Not to mention the pungency of...
Dear old dirty Dublin, here through the eyes of a cop who single-handedly—and -mindedly—takes on an entrenched gang of vicious businessmen-hooligans.
Pat Coyne has a pretty and ever-cheerful wife, three kids, and a nice house—but he’s let the Cunningham gang get under his skin to the point where, given his hair-trigger anger, he risks losing everything. The Cunninghams, indeed, are despicable drug dealers, torturers, and murderers, with just enough legal savvy to have gotten away with it for years, all the while keeping up ritzy appearances and even opening up, of late, a nightclub. All hateful enough, but there are other things to feed Pat Coyne’s pent-up rage, readying it to be triggered by the vile Cunninghams. Coyne can’t stand his hypercritical mother-in-law, for example, yet she made the down payment on the house he otherwise wouldn’t have. And his wife, Carmel, has taken up art classes—anathema and affectation to plain-speaking Coyne, who thinks there’s too much art in the world already. Not to mention his deeper source of on-going anger. He may not be highly educated, but he’s a thinker, reads incessantly about nature, and is convinced that ecological doom lurks just around the corner—even though no one will take him seriously. They laugh—just like the Cunningham gang laughs at him, too. It’s enough to send a man over the edge—which is where he goes starting when a hatchet comes through his squad car windshield. Sometime later, and very drunk, he torches Berti Cunningham’s fancy car, a true declaration of war. And after getting suspended from his job (he assaults Carmel’s unbearably effete art instructor), it seems there’s nothing for it but to go after the devils alone.
The pleasures of violence, suspense, and local color are here in about equal measure. Not to mention the pungency of language—“gobshite” abundant—and of course the question of whether Pat Coyne will or won’t survive to enjoy the comforts of domesticity.Pub Date: May 15, 2001
ISBN: 1-56858-195-5
Page Count: 242
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 2001
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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