Dull, obvious, offensive, Botox- and yoga-stuffed first novel.

THE IVY CHRONICLES

After losing job and husband, a high-powered businesswoman (unfortunately) finds herself: the latest in the Nanny Diaries cycle of employment novels.

Ivy Ames, in marketing for an investment house, is one of those frantically busy Wall Street women (mainlining coffee, handling the kids, hating her sexist boss) we’ve seen before. And, like most of them, she gets fired right off the bat and goes home to find hubby in flagrante with a family friend. Now unemployed, with a couple of rug-rats to feed and educate, Ivy has to figure out how to keep herself in private-school tuition and in bedding from ABC Home and Carpet. Having recently been of the ruling class, she figures out a service that parents of that class will need: consulting on how to get their children into private school. Never mind that nowhere does Quinn provide a good reason why the advice Ivy imparts to her clients couldn’t have been picked up at an Upper West Side soiree. All the reader can do is sit back and watch Ivy’s fabulous life come together in a ready-for-TV, label- and status-obsessed, technicolor fantasy. The first weakness is Ivy, barely qualifying as two-dimensional, so depressingly shallow that you might find yourself hoping for a Bonfire of the Vanities–style comeuppance at the end; she’s like a stranger wandering through her own story. And then there are the secondary characters, a clutch of stereotypes whose portrayals flirt with classism and racism at the best of times. And there’s Quinn’s writing, which provides Ivy with lines like, “To my surprise and joy, caring for the children was a joy,” in its attempt to humanize her (as a bonus, there’s a love scene that actually uses the words “loins” and “soft womanly flesh”).

Dull, obvious, offensive, Botox- and yoga-stuffed first novel.

Pub Date: Jan. 31, 2005

ISBN: 0-670-03381-2

Page Count: 448

Publisher: Viking

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Dec. 1, 2004

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An enjoyable, cozy novel that touches on tough topics.

THE AUTHENTICITY PROJECT

A group of strangers who live near each other in London become fast friends after writing their deepest secrets in a shared notebook.

Julian Jessop, a septuagenarian artist, is bone-crushingly lonely when he starts “The Authenticity Project”—as he titles a slim green notebook—and begins its first handwritten entry questioning how well people know each other in his tiny corner of London. After 15 years on his own mourning the loss of his beloved wife, he begins the project with the aim that whoever finds the little volume when he leaves it in a cafe will share their true self with their own entry and then pass the volume on to a stranger. The second person to share their inner selves in the notebook’s pages is Monica, 37, owner of a failing cafe and a former corporate lawyer who desperately wants to have a baby. From there the story unfolds, as the volume travels to Thailand and back to London, seemingly destined to fall only into the hands of people—an alcoholic drug addict, an Australian tourist, a social media influencer/new mother, etc.—who already live clustered together geographically. This is a glossy tale where difficulties and addictions appear and are overcome, where lies are told and then forgiven, where love is sought and found, and where truths, once spoken, can set you free. Secondary characters, including an interracial gay couple, appear with their own nuanced parts in the story. The message is strong, urging readers to get off their smartphones and social media and live in the real, authentic world—no chain stores or brands allowed here—making friends and forming a real-life community and support network. And is that really a bad thing?

An enjoyable, cozy novel that touches on tough topics.

Pub Date: Feb. 4, 2020

ISBN: 978-1-9848-7861-8

Page Count: 368

Publisher: Pamela Dorman/Viking

Review Posted Online: Oct. 27, 2019

Kirkus Reviews Issue: Nov. 15, 2019

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A strict report, worthy of sympathy.

THE CATCHER IN THE RYE

A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.

"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….

A strict report, worthy of sympathy.

Pub Date: June 15, 1951

ISBN: 0316769177

Page Count: -

Publisher: Little, Brown

Review Posted Online: Nov. 2, 2011

Kirkus Reviews Issue: June 15, 1951

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