Sullivan often approaches melodrama, but she steers clear of the sentimentality that might easily have crept into this tale...

SAINTS FOR ALL OCCASIONS

Of Catholic guilt, silences, and secrets: an expertly spun family drama, a genre Sullivan (The Engagements, 2013, etc.) has staked out as her own.

Theresa and Nora, Irish sisters, have long since parted company, the break an event that neither has spoken of for half a century. Now, as Sullivan’s latest opens, Nora’s son Patrick has died, and as the family comes together to see him off, long-hidden secrets are unveiled. A whole constellation of them swirls around Theresa, explained away as “nothing more to Patrick than a distant aunt.” But how to explain the truth? How to make up for all the choppy water that has passed between the two sisters, separated by an unbridged Atlantic? How to forgive one another? Sullivan lets some of the critical details out early: Patrick was a drinker, and he died in a drunken car wreck. Theresa was a religious whiz kid, more Catholic than the pope; quizzed by the bishop, she reels off doctrine to the letter, prompting the cleric to say to her father, “You’ve got a very bright child there. Are all your others as sharp as that?” The answer, “Heavens no. We don’t know where she came from,” speaks volumes about the story that will follow, though for all her knowledge, no one really expects Theresa to wind up in the nunnery, torn up by the more or less ordinary events of adolescence and given to saying “a string of novenas for forgiveness” for her perfectly excusable transgressions—excusable now, of course, but not then, and not in the Ireland of the girls’ youth. Sullivan is a master at making a sideways glance or a revealed detail add to a larger picture that she takes her time in building, one that might just as easily bear as its title a wise remark in passing: “Loving and knowing weren’t the same.”

Sullivan often approaches melodrama, but she steers clear of the sentimentality that might easily have crept into this tale of regret and nostalgia.

Pub Date: May 9, 2017

ISBN: 978-0-307-95957-7

Page Count: 368

Publisher: Knopf

Review Posted Online: April 2, 2017

Kirkus Reviews Issue: April 15, 2017

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Hoover is one of the freshest voices in new-adult fiction, and her latest resonates with true emotion, unforgettable...

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MAYBE SOMEDAY

Sydney and Ridge make beautiful music together in a love triangle written by Hoover (Losing Hope, 2013, etc.), with a link to a digital soundtrack by American Idol contestant Griffin Peterson. 

Hoover is a master at writing scenes from dual perspectives. While music student Sydney is watching her neighbor Ridge play guitar on his balcony across the courtyard, Ridge is watching Sydney’s boyfriend, Hunter, secretly make out with her best friend on her balcony. The two begin a songwriting partnership that grows into something more once Sydney dumps Hunter and decides to crash with Ridge and his two roommates while she gets back on her feet. She finds out after the fact that Ridge already has a long-distance girlfriend, Maggie—and that he's deaf. Ridge’s deafness doesn’t impede their relationship or their music. In fact, it creates opportunities for sexy nonverbal communication and witty text messages: Ridge tenderly washes off a message he wrote on Sydney’s hand in ink, and when Sydney adds a few too many e’s to the word “squee” in her text, Ridge replies, “If those letters really make up a sound, I am so, so glad I can’t hear it.” While they fight their mutual attraction, their hope that “maybe someday” they can be together playfully comes out in their music. Peterson’s eight original songs flesh out Sydney’s lyrics with a good mix of moody musical styles: “Living a Lie” has the drama of a Coldplay piano ballad, while the chorus of “Maybe Someday” marches to the rhythm of the Lumineers. But Ridge’s lingering feelings for Maggie cause heartache for all three of them. Independent Maggie never complains about Ridge’s friendship with Sydney, and it's hard to even want Ridge to leave Maggie when she reveals her devastating secret. But Ridge can’t hide his feelings for Sydney long—and they face their dilemma with refreshing emotional honesty. 

Hoover is one of the freshest voices in new-adult fiction, and her latest resonates with true emotion, unforgettable characters and just the right amount of sexual tension.

Pub Date: March 18, 2014

ISBN: 978-1-4767-5316-4

Page Count: 384

Publisher: Atria

Review Posted Online: May 7, 2014

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Finding positivity in negative pregnancy-test results, this depiction of a marriage in crisis is nearly perfect.

ALL YOUR PERFECTS

Named for an imperfectly worded fortune cookie, Hoover's (It Ends with Us, 2016, etc.) latest compares a woman’s relationship with her husband before and after she finds out she’s infertile.

Quinn meets her future husband, Graham, in front of her soon-to-be-ex-fiance’s apartment, where Graham is about to confront him for having an affair with his girlfriend. A few years later, they are happily married but struggling to conceive. The “then and now” format—with alternating chapters moving back and forth in time—allows a hopeful romance to blossom within a dark but relatable dilemma. Back then, Quinn’s bad breakup leads her to the love of her life. In the now, she’s exhausted a laundry list of fertility options, from IVF treatments to adoption, and the silver lining is harder to find. Quinn’s bad relationship with her wealthy mother also prevents her from asking for more money to throw at the problem. But just when Quinn’s narrative starts to sound like she’s writing a long Facebook rant about her struggles, she reveals the larger issue: Ever since she and Graham have been trying to have a baby, intimacy has become a chore, and she doesn’t know how to tell him. Instead, she hopes the contents of a mystery box she’s kept since their wedding day will help her decide their fate. With a few well-timed silences, Hoover turns the fairly common problem of infertility into the more universal problem of poor communication. Graham and Quinn may or may not become parents, but if they don’t talk about their feelings, they won’t remain a couple, either.

Finding positivity in negative pregnancy-test results, this depiction of a marriage in crisis is nearly perfect.

Pub Date: July 17, 2018

ISBN: 978-1-5011-7159-8

Page Count: 320

Publisher: Atria

Review Posted Online: May 1, 2018

Kirkus Reviews Issue: May 15, 2018

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