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A compelling family tale with convincing, psychologically perceptive writing.

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A fractured family seeks a way out of a series of crises in this debut novel.

Tom Holder is a tenured professor of philosophy employed by Barnes College in Maine. He likes teaching but not writing and churns out “just enough pedagogical crap to maintain tenure.” He has recently completed the first draft of a book written with the intention of “lancing Trump with a sharp-edged pen” and pissing off “people in high places.” The latter objective is achieved immediately, as the work’s contents land Tom in the crosshairs of the “loathsome” college president, Amos Whitely. Meanwhile, Tom’s wife, Hannah, is discontent with being a stay-at-home mom. Before Tom received his tenure, she was the main breadwinner, working in a bank in Boston in a management training program. Her prospects of becoming a professional were derailed with the move to Maine, where she grew resentful of Tom’s success. Their children, Madison, 14, and Dillon, 15, have their own problems. Madison is the target of a homophobic slur in high school. Meanwhile, sophomore Dillon is brought home by a police officer after being caught drinking. The status quo of the family is further disrupted when Hannah decides to take the LSAT with the hope of returning to Boston and attending law school. Tom also learns that his estranged father, whom he has not seen in over 20 years, has been diagnosed with cancer. As pressures build, Tom and Hannah find their marriage under considerable strain.

The story is poignantly recounted in intimate alternate chapters from the perspectives of Tom and Hannah. Moot writes with a succinct eloquence, creating a cast of psychologically plausible characters. For instance, when Hannah learns that Madison has been called a “dyke” by a boy at school, the intensity of her shifting emotions is palpable: “Digest, process, breathe. Calm, thoughtful mother. No, fuck that. Rage. Protect your daughter. ‘I’m calling his mother.’ ” The chapters written from Tom’s point of view are sufficiently distinct in tenor to convince readers that the narrative is being delivered by a different person. Tom is contrastingly self-involved and self-pitying: “I rolled out of bed, fed Bart and let him out. A man’s best friend. A man’s only friend. I put on a pot of coffee and showered while it brewed.” Moments such as these capture an everyday routine with which most readers will be familiar, and the difficulties faced by the Holder family are easy to relate to. The reasons behind Tom’s becoming estranged from his father add an extra element of intrigue to an already strong plot, and Moot’s examination of family secrets and teenage rebellion proves thought-provoking. On rare occasions, Tom’s narrative feels stiff and contrived, as though it has been lifted from an academic study, although this may be an intentional reflection of his professional diction: “Religion supplies answers for some. It soothes our existential anxiety by reassuring us that there is a higher power with a larger plan.” This does not detract from a carefully conceived and sharply written novel with characters that are impossible not to root for.

A compelling family tale with convincing, psychologically perceptive writing.

Pub Date: Aug. 4, 2020

ISBN: 978-1-73458-002-0

Page Count: 256

Publisher: Roads End Books LLC

Review Posted Online: June 17, 2020

Kirkus Reviews Issue: Aug. 15, 2020

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IT STARTS WITH US

Through palpable tension balanced with glimmers of hope, Hoover beautifully captures the heartbreak and joy of starting over.

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The sequel to It Ends With Us (2016) shows the aftermath of domestic violence through the eyes of a single mother.

Lily Bloom is still running a flower shop; her abusive ex-husband, Ryle Kincaid, is still a surgeon. But now they’re co-parenting a daughter, Emerson, who's almost a year old. Lily won’t send Emerson to her father’s house overnight until she’s old enough to talk—“So she can tell me if something happens”—but she doesn’t want to fight for full custody lest it become an expensive legal drama or, worse, a physical fight. When Lily runs into Atlas Corrigan, a childhood friend who also came from an abusive family, she hopes their friendship can blossom into love. (For new readers, their history unfolds in heartfelt diary entries that Lily addresses to Finding Nemo star Ellen DeGeneres as she considers how Atlas was a calming presence during her turbulent childhood.) Atlas, who is single and running a restaurant, feels the same way. But even though she’s divorced, Lily isn’t exactly free. Behind Ryle’s veneer of civility are his jealousy and resentment. Lily has to plan her dates carefully to avoid a confrontation. Meanwhile, Atlas’ mother returns with shocking news. In between, Lily and Atlas steal away for romantic moments that are even sweeter for their authenticity as Lily struggles with child care, breastfeeding, and running a business while trying to find time for herself.

Through palpable tension balanced with glimmers of hope, Hoover beautifully captures the heartbreak and joy of starting over.

Pub Date: Oct. 18, 2022

ISBN: 978-1-668-00122-6

Page Count: 352

Publisher: Atria

Review Posted Online: July 26, 2022

Kirkus Reviews Issue: Aug. 15, 2022

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THE MAN WHO LIVED UNDERGROUND

A welcome literary resurrection that deserves a place alongside Wright’s best-known work.

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A falsely accused Black man goes into hiding in this masterful novella by Wright (1908-1960), finally published in full.

Written in 1941 and '42, between Wright’s classics Native Son and Black Boy, this short novel concerns Fred Daniels, a modest laborer who’s arrested by police officers and bullied into signing a false confession that he killed the residents of a house near where he was working. In a brief unsupervised moment, he escapes through a manhole and goes into hiding in a sewer. A series of allegorical, surrealistic set pieces ensues as Fred explores the nether reaches of a church, a real estate firm, and a jewelry store. Each stop is an opportunity for Wright to explore themes of hope, greed, and exploitation; the real estate firm, Wright notes, “collected hundreds of thousands of dollars in rent from poor colored folks.” But Fred’s deepening existential crisis and growing distance from society keep the scenes from feeling like potted commentaries. As he wallpapers his underground warren with cash, mocking and invalidating the currency, he registers a surrealistic but engrossing protest against divisive social norms. The novel, rejected by Wright’s publisher, has only appeared as a substantially truncated short story until now, without the opening setup and with a different ending. Wright's take on racial injustice seems to have unsettled his publisher: A note reveals that an editor found reading about Fred’s treatment by the police “unbearable.” That may explain why Wright, in an essay included here, says its focus on race is “rather muted,” emphasizing broader existential themes. Regardless, as an afterword by Wright’s grandson Malcolm attests, the story now serves as an allegory both of Wright (he moved to France, an “exile beyond the reach of Jim Crow and American bigotry”) and American life. Today, it resonates deeply as a story about race and the struggle to envision a different, better world.

A welcome literary resurrection that deserves a place alongside Wright’s best-known work.

Pub Date: April 20, 2021

ISBN: 978-1-59853-676-8

Page Count: 240

Publisher: Library of America

Review Posted Online: March 16, 2021

Kirkus Reviews Issue: April 1, 2021

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