Intelligent and profound but quite depressing.

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THE DEPENDENTS

An introverted older man deals with the grief of losing his wife.

Dion's melancholy, meditative debut dwells in the head of Gene Ashe, a widower after 49 years of marriage. It opens with a scene at the beach that conveys both Gene's crankiness and his melancholy: "The beach was crowded, a cluttered heap of pink skin, chipped toenail polish, ice chests, crumpled tin foil..."; a group of teenage girls beside him emits "a collective shriek that he vaguely recognized as a form of laughter"; "His interest in other people lay primarily in the mystery of their happiness." Through this lens of gloom, we gradually collect the details of his life. He has one adult child, a daughter, who is perennially irritated with him, and a close friendship with a couple he and his wife have known since their college days, though he is just as habitually annoyed by the husband as his daughter is with him. Adding to his woes at the beginning of the novel is the need to write a eulogy for his wife; even with the help of a how-to site on the internet, he is unable to get past four words: "Something definite was lost." When the memorial service does occur, he is hurt and bewildered by the speeches given by his daughter and by his wife's best friend. At this point, since Gene's health is failing, his daughter hires him a caretaker who at first seems to offer not just housekeeping, but relief from loneliness. As the weeks and months go by, Gene sorts through his memories, some of them perplexing and seeming to suggest that his wife had secrets from him. At this novel's most successful moments, the depiction of Gene's mental state achieves the eloquence and insight of C.S. Lewis' A Grief Observed: "It amazed him he could still remember so much about the particular way she had inhabited the world. Such intimacy, to think of these things, to know exactly the way she had cared for her own body or moved it through space."

Intelligent and profound but quite depressing.

Pub Date: June 19, 2018

ISBN: 978-0-316-47387-3

Page Count: 288

Publisher: Little, Brown

Review Posted Online: March 20, 2018

Kirkus Reviews Issue: April 1, 2018

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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 humor and insight, Straub creates a family worth rooting for.

ALL ADULTS HERE

When Astrid Strick witnesses a school bus run over a longtime acquaintance of hers—Barbara Baker, a woman she doesn't like very much—it's only the beginning of the shake-ups to come in her life and the lives of those she loves.

Astrid has been tootling along contentedly in the Hudson Valley town of Clapham, New York, a 68-year-old widow with three grown children. After many years of singlehood since her husband died, she's been quietly seeing Birdie Gonzalez, her hairdresser, for the past two years, and after Barbara's death she determines to tell her children about the relationship: "There was no time to waste, not in this life. There were always more school buses." Elliot, her oldest, who's in real estate, lives in Clapham with his wife, Wendy, who's Chinese American, and their twins toddlers, Aidan and Zachary, who are "such hellions that only a fool would willingly ask for more." Astrid's daughter, Porter, owns a nearby farm producing artisanal goat cheese and has just gotten pregnant through a sperm bank while having an affair with her married high school boyfriend. Nicky, the youngest Strick, is disconcertingly famous for having appeared in an era-defining movie when he was younger and now lives in Brooklyn with his French wife, Juliette, and their daughter, Cecelia, who's being shipped up to live with Astrid for a while after her friend got mixed up with a pedophile she met online. As always, Straub (Modern Lovers, 2016, etc.) draws her characters warmly, making them appealing in their self-centeredness and generosity, their insecurity and hope. The cast is realistically diverse, though in most ways it's fairly superficial; the fact that Birdie is Latina or Porter's obstetrician is African American doesn't have much impact on the story or their characters. Cecelia's new friend, August, wants to make the transition to Robin; that storyline gets more attention, with the two middle schoolers supporting each other through challenging times. The Stricks worry about work, money, sex, and gossip; Straub has a sharp eye for her characters' foibles and the details of their liberal, upper-middle-class milieu.

With humor and insight, Straub creates a family worth rooting for.

Pub Date: May 5, 2020

ISBN: 978-1-59463-469-7

Page Count: 368

Publisher: Riverhead

Review Posted Online: Feb. 10, 2020

Kirkus Reviews Issue: March 1, 2020

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