An engaging and often lighthearted take on the nuances of relationships.
Dorfman offers a study of tenuous connections between several coworkers at a school-portrait company in this episodic novel.
A man named Blake works for a company called SmilePosts, a company that takes official class photos for elementary schools. Readers meet him as he breaks down crying in front of a very confused fourth grader. This might not seem like the setup for a character-driven soap opera of epic proportions, but that’s what the work becomes. Blake remains as the narrator throughout, even as the book focuses on different SmilePosts employees in each of three sections, and there is a host of secondary characters that readers also get to know and love. Linda and Ed’s friendship crosses the line into an emotional affair; Linda is divorced and struggles with infertility, while Ed tries to convince himself that a stale marriage is worth it for the stability. Dana and Ethan’s brief romantic entanglement forces them both to grow up as her reality as a teenage mother clashes with his spoiled stoner persona. The narrator finally gets his own section in the last third of the book, in which Blake examines how his perpetual optimism in his early 20s is souring as he approaches 30. This self-reflection effectively piggybacks on the story of his growing friendship with fellow employee Josie and his attraction to another one of his coworkers, Hailey. As the book winds to a close, Blake has seemingly disclosed all of the twists and turns and secrets of his colleagues—but then he reveals a twist that may lead some readers to audibly gasp. Overall, this novel presents a series of compelling character sketches with wry humor and heartfelt revelations. Along the way, it also manages to tackle difficult topics with a surprising earnestness, including unwanted pregnancy, faith, and self-harm.
An engaging and often lighthearted take on the nuances of relationships.Pub Date: Aug. 15, 2022
ISBN: 979-8985579116
Page Count: 426
Publisher: Self
Review Posted Online: Oct. 24, 2022
Review Program: Kirkus Indie
BOOK REVIEW
With comic energy and wild plot twists to spare, a thoroughly charming debut.
The problems of a very modern family in a slightly surreal world.
Meet the Flynns. With their marriage on the rocks, Catherine and Bud don’t have much time or energy to supervise their three daughters: beautiful, uncooperative Abigail, in love with a young man known as War Crimes Wes; brilliant, deranged Harper, who speaks seven languages but is suspended from school more often than not; between them, Louise, a classic middle child, to whom nobody is paying attention as she gets herself in serious trouble in an online chat room. Cash’s debut novel has fun with everything it touches, rocketing through the points of view of the family members and other townspeople, delighting in wordplay and absurd details. Introduced early on is a gnat problem—gnats have infested the church of Our Lady of Suffering as well as a sculpture on the town green, and they have also infested every word in the text that has the syllable “nat”—extermignate, gnatural, dognate, siggnature, and so forth. Though the town itself is never named, its principal feature, Alabaster Harbor™, is always trademarked: “Bud was the accounts and systems manager at Alabaster Harbor™—not some backwater artery of commerce but the primary port for the entire western coastline, the premier gateway for domestic and intergnational trade.” Corruption at the harbor is one of many storylines; another follows Bud’s attempt to find solace for his wife’s disdain by joining a support group called Lost Lambs, based at Our Lady of Suffering and run by the cheerful Miss Winkle. Also based at the church is Father Andrew, whose background is not in theology but in French cinema: “Father Andrew loved the world of French film, where a girl’s sexuality gave her agency, where there were fewer restrictions and more topless chain-smoking on the beach.” Between the crowd of quirky characters and drastic situations, the high-flying sentences and prose style, and Cash’s relentless joke-cracking, the novel is, like Harper, almost too clever for its own good—but the Flynns stay just real enough to win our hearts.
With comic energy and wild plot twists to spare, a thoroughly charming debut.Pub Date: Jan. 13, 2026
ISBN: 9780374619237
Page Count: 336
Publisher: Farrar, Straus and Giroux
Review Posted Online: Sept. 27, 2025
Kirkus Reviews Issue: Nov. 1, 2025
A masterpiece of craftsmanship that offers an unparalleled emotional experience. Send a copy to the Swedish Academy.
An ambitious scientific experiment wreaks horrendous toll in the Booker-winning British author’s disturbingly eloquent sixth novel (after When We Were Orphans, 2000).
Ishiguro’s narrator, identified only as Kath(y) H., speaks to us as a 31-year-old social worker of sorts, who’s completing her tenure as a “carer,” prior to becoming herself one of the “donors” whom she visits at various “recovery centers.” The setting is “England, late 1990s”—more than two decades after Kath was raised at a rural private school (Hailsham) whose students, all children of unspecified parentage, were sheltered, encouraged to develop their intellectual and especially artistic capabilities, and groomed to become donors. Visions of Brave New World and 1984 arise as Kath recalls in gradually and increasingly harrowing detail her friendships with fellow students Ruth and Tommy (the latter a sweet, though distractible boy prone to irrational temper tantrums), their “graduation” from Hailsham and years of comparative independence at a remote halfway house (the Cottages), the painful outcome of Ruth’s breakup with Tommy (whom Kath also loves), and the discovery the adult Kath and Tommy make when (while seeking a “deferral” from carer or donor status) they seek out Hailsham’s chastened “guardians” and receive confirmation of the limits long since placed on them. With perfect pacing and infinite subtlety, Ishiguro reveals exactly as much as we need to know about how efforts to regulate the future through genetic engineering create, control, then emotionlessly destroy very real, very human lives—without ever showing us the faces of the culpable, who have “tried to convince themselves. . . . That you were less than human, so it didn’t matter.” That this stunningly brilliant fiction echoes Caryl Churchill’s superb play A Number and Margaret Atwood’s celebrated dystopian novels in no way diminishes its originality and power.
A masterpiece of craftsmanship that offers an unparalleled emotional experience. Send a copy to the Swedish Academy.Pub Date: April 11, 2005
ISBN: 1-4000-4339-5
Page Count: 304
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 1, 2005
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