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

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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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Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

THEN SHE WAS GONE

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. 6, 2018

Kirkus Reviews Issue: Feb. 15, 2018

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With her second novel, Ng further proves she’s a sensitive, insightful writer with a striking ability to illuminate life in...

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LITTLE FIRES EVERYWHERE

This incandescent portrait of suburbia and family, creativity, and consumerism burns bright.

It’s not for nothing that Ng (Everything I Never Told You, 2014) begins her second novel, about the events leading to the burning of the home of an outwardly perfect-seeming family in Shaker Heights, Ohio, circa 1997, with two epigraphs about the planned community itself—attesting to its ability to provide its residents with “protection forever against…unwelcome change” and “a rather happy life” in Utopia. But unwelcome change is precisely what disrupts the Richardson family’s rather happy life, when Mia, a charismatic, somewhat mysterious artist, and her smart, shy 15-year-old daughter, Pearl, move to town and become tenants in a rental house Mrs. Richardson inherited from her parents. Mia and Pearl live a markedly different life from the Richardsons, an affluent couple and their four high school–age children—making art instead of money (apart from what little they need to get by); rooted in each other rather than a particular place (packing up what fits in their battered VW and moving on when “the bug” hits); and assembling a hodgepodge home from creatively repurposed, scavenged castoffs and love rather than gathering around them the symbols of a successful life in the American suburbs (a big house, a large family, gleaming appliances, chic clothes, many cars). What really sets Mia and Pearl apart and sets in motion the events leading to the “little fires everywhere” that will consume the Richardsons’ secure, stable world, however, is the way they hew to their own rules. In a place like Shaker Heights, a town built on plans and rules, and for a family like the Richardsons, who have structured their lives according to them, disdain for conformity acts as an accelerant, setting fire to the dormant sparks within them. The ultimate effect is cataclysmic. As in Everything I Never Told You, Ng conjures a sense of place and displacement and shows a remarkable ability to see—and reveal—a story from different perspectives. The characters she creates here are wonderfully appealing, and watching their paths connect—like little trails of flame leading inexorably toward one another to create a big inferno—is mesmerizing, casting into new light ideas about creativity and consumerism, parenthood and privilege.

With her second novel, Ng further proves she’s a sensitive, insightful writer with a striking ability to illuminate life in America.

Pub Date: Sept. 12, 2017

ISBN: 978-0-7352-2429-2

Page Count: 384

Publisher: Penguin Press

Review Posted Online: June 20, 2017

Kirkus Reviews Issue: July 1, 2017

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