A languid debut. Haythe has potential, but his inability to distinguish the significant detail from the insignificant makes...
Fresh young love is no match for the Oedipal variety.
Say this for Maureen Garraty: affected and attention-seeking she may be, but she isn’t your conventional gold digger. Two years after marrying Theo, a filthy-rich Floridian, she splits: the very pretty, very animated Maureen claims he’s too dull. In 1972, she decamps to London with her small son Gordon. Her plan, undeterred by a lack of academic credentials, is to write an art guide to great European cities. Throughout the ’70s and ’80s, mother and son crisscross the Continent, Theo, generous to a fault, bankrolling their trips. That Maureen is a dilettante we know already; far more damning, she’s also a lifelong plagiarist, as Gordon, our narrator, finally acknowledges. He doesn’t get much schooling, but Maureen self-servingly buys him a camera so he can document their travels, and his photographic skills land him a job freelancing for discount catalogues. By now Gordon is 19, living alone for the first time, in London. He falls in love with Annie, who works in a deli but has a mind of her own, is older and sexually experienced—unlike still-virgin Gordon. Too often Haythe’s story seems becalmed, but here it picks up a breeze in tracing the nakedness and idealism of first love. The two jump into marriage but delay the honeymoon for a year so Maureen and her new friend Gerhardt can join them at a grand hotel in Venice. The honeymoon turns sour for Gordon once he learns that the Swiss-German Gerhardt is engaged to his mother. His ardor for Annie cools (they make love only once) as his loathing for Gerhardt intensifies: his sexual jealousy is made explicit when he imagines Gerhardt’s “black poisonous fluids.” The climax comes when Maureen stabs Annie’s hand with a fork and Gordon sits idly by. His inaction dooms their marriage.
A languid debut. Haythe has potential, but his inability to distinguish the significant detail from the insignificant makes his vision hazy.Pub Date: April 1, 2004
ISBN: 0-87113-914-6
Page Count: 272
Publisher: Atlantic Monthly
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 2003
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
Absolutely enthralling. Read it.
A young Irish couple gets together, splits up, gets together, splits up—sorry, can't tell you how it ends!
Irish writer Rooney has made a trans-Atlantic splash since publishing her first novel, Conversations With Friends, in 2017. Her second has already won the Costa Novel Award, among other honors, since it was published in Ireland and Britain last year. In outline it's a simple story, but Rooney tells it with bravura intelligence, wit, and delicacy. Connell Waldron and Marianne Sheridan are classmates in the small Irish town of Carricklea, where his mother works for her family as a cleaner. It's 2011, after the financial crisis, which hovers around the edges of the book like a ghost. Connell is popular in school, good at soccer, and nice; Marianne is strange and friendless. They're the smartest kids in their class, and they forge an intimacy when Connell picks his mother up from Marianne's house. Soon they're having sex, but Connell doesn't want anyone to know and Marianne doesn't mind; either she really doesn't care, or it's all she thinks she deserves. Or both. Though one time when she's forced into a social situation with some of their classmates, she briefly fantasizes about what would happen if she revealed their connection: "How much terrifying and bewildering status would accrue to her in this one moment, how destabilising it would be, how destructive." When they both move to Dublin for Trinity College, their positions are swapped: Marianne now seems electric and in-demand while Connell feels adrift in this unfamiliar environment. Rooney's genius lies in her ability to track her characters' subtle shifts in power, both within themselves and in relation to each other, and the ways they do and don't know each other; they both feel most like themselves when they're together, but they still have disastrous failures of communication. "Sorry about last night," Marianne says to Connell in February 2012. Then Rooney elaborates: "She tries to pronounce this in a way that communicates several things: apology, painful embarrassment, some additional pained embarrassment that serves to ironise and dilute the painful kind, a sense that she knows she will be forgiven or is already, a desire not to 'make a big deal.' " Then: "Forget about it, he says." Rooney precisely articulates everything that's going on below the surface; there's humor and insight here as well as the pleasure of getting to know two prickly, complicated people as they try to figure out who they are and who they want to become.
Absolutely enthralling. Read it.Pub Date: April 16, 2019
ISBN: 978-1-984-82217-8
Page Count: 288
Publisher: Hogarth
Review Posted Online: Feb. 17, 2019
Kirkus Reviews Issue: March 1, 2019
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