A heartwarming novel with a small-town vibe that sparkles like wine sipped with friends under backyard fairy lights.
The author of Single, Carefree, Mellow (2015) and Standard Deviation (2017) brings us new characters to fall in love with in this novel about love, family, and community.
It’s easy to adore the characters Heiny conjures in her novels and short stories. They tend to be quirky and smart, caring and passionate. Jane, the protagonist of Heiny’s gentle, funny new novel, is no exception. When we first meet her, the year is 2002, and she's 26. She has just moved to small-town Boyne City, Michigan, from Grand Rapids by way of Battle Creek, to teach second grade at the local elementary school. Almost immediately—in the first month she's in town and the first sentence of the novel—she meets and falls for Duncan, a handsome, divorced woodworker in his early 40s who moonlights as a locksmith (they meet when she locks herself out of her new house), looks to Jane “like the Brawny paper towel man,” and, she later learns, not entirely to her surprise, has slept with pretty much every woman in the area. Both Jane, ever hopeful, and Duncan, ever appreciative, are pure charm (as are the book’s secondary characters: their Northern Michigan neighbors, friends, and family members). She is a creative teacher and all-around blithe spirit who enthusiastically procures all her clothes and household items at the local thrift store. (“Some of her thrift-store outfits were more successful than others,” we’re told.) He’s the kind of generous, easygoing guy who still shovels out the snowy driveway of his ex-wife, Aggie, as well as that of Jane; Jane’s best friend, Freida; and, eventually, Jane’s flinty mother. Duncan’s sole employee is a sweet young man named Jimmy who was initially “described to Jane by more than one person as ‘slow learning.’ ” After an accident for which Jane feels culpable, Jimmy becomes Jane’s responsibility, too. Eventually, Jimmy will bring Jane and Duncan together in a new way. Told episodically in chapters titled by year and covering a span of 17 years, Heiny’s book finds beauty and humor in connection and community, family and friendship, and the way love can develop and deepen over time.
A heartwarming novel with a small-town vibe that sparkles like wine sipped with friends under backyard fairy lights.Pub Date: April 13, 2021
ISBN: 978-0-525-65934-1
Page Count: 336
Publisher: Knopf
Review Posted Online: Nov. 26, 2020
Kirkus Reviews Issue: Dec. 15, 2020
PERSPECTIVES
PROFILES
Uneven but fitfully amusing.
Betrayed by her husband, a severely depressed young woman gets drawn into the over-the-top festivities at a lavish wedding.
Phoebe Stone, who teaches English literature at a St. Louis college, is plotting her own demise. Her husband, Matt, has left her for another woman, and Phoebe is taking it hard. Indeed, she's determined just where and how she will end it all: at an oceanfront hotel in Newport, where she will lie on a king-sized canopy bed and take a bottle of her cat’s painkillers. At the hotel, Phoebe meets bride-to-be Lila, a headstrong rich girl presiding over her own extravagant six-day wedding celebration. Lila thought she had booked every room in the hotel, and learning of Phoebe's suicidal intentions, she forbids this stray guest from disrupting the nuptials: “No. You definitely can’t kill yourself. This is my wedding week.” After the punchy opening, a grim flashback to the meltdown of Phoebe's marriage temporarily darkens the mood, but things pick up when spoiled Lila interrupts Phoebe's preparations and sweeps her up in the wedding juggernaut. The slide from earnest drama to broad farce is somewhat jarring, but from this point on, Espach crafts an enjoyable—if overstuffed—comedy of manners. When the original maid of honor drops out, Phoebe is persuaded, against her better judgment, to take her place. There’s some fun to be had here: The wedding party—including groom-to-be Gary, a widower, and his 11-year-old daughter—takes surfing lessons; the women in the group have a session with a Sex Woman. But it all goes on too long, and the humor can seem forced, reaching a low point when someone has sex with the vintage wedding car (you don’t want to know the details). Later, when two characters have a meet-cute in a hot tub, readers will guess exactly how the marriage plot resolves.
Uneven but fitfully amusing.Pub Date: July 30, 2024
ISBN: 9781250899576
Page Count: 384
Publisher: Henry Holt
Review Posted Online: Sept. 13, 2024
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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