Striking style, memorable characters, and a believably miraculous premise add up to a beautifully crafted first novel.

SHARKS IN THE TIME OF SAVIORS

By turns lyrical and gritty, a moving family story focuses on the aftermath of miracles.

From its opening pages, this debut novel juxtaposes the realities of life for a working-class Hawaiian family and the mysticism of the Native culture that shapes them, with surprising results. Augie and Malia and their children—sons Dean and Nainoa and daughter Kaui—find their lives forever changed when, during a boat tour, little Noa falls overboard and is rescued by sharks, unharmed, as witnessed by a boatload of passengers. It’s an echo of old legends that is reinforced a few years later when the boy heals an accident victim’s injuries (although his mother offers an origin story that suggests he was marked by the old gods from conception). Noa’s gift is a source of both wonder and cold hard cash, not to mention a baffling burden for a kid. In chapters narrated in turn by each member of the family, the siblings grow up, Dean and Kaui always feeling they are in their brother’s shadow, all of them balancing on the edge of poverty. Dean is a talented athlete, Noa and Kaui top students, and Augie and Malia manage to send all three to the mainland for college. But with the family fractured, all of them struggle, and only some find redemption. Washburn’s prose is lush and inventive; a native of Hawai’i, he portrays the islands and their people with insight and love. He skillfully creates distinct voices for each of his narrators: resentful Dean, wisecracking Kaui, happy-go-lucky Augie, and Malia the true believer: “The kingdom of Hawai’i had long been broken—the hot rain forests and breathing green reefs crushed under the haole commerce of beach resorts, skyscrapers—and that was when the land had begun calling. I know this now because of you.” That ”you” is Noa, sweet and bighearted and wrecked by his unasked-for powers. Their stories go in unexpected directions, from hilarious to heartbreaking.

Striking style, memorable characters, and a believably miraculous premise add up to a beautifully crafted first novel.

Pub Date: March 31, 2020

ISBN: 978-0-374-27208-1

Page Count: 384

Publisher: MCD/Farrar, Straus and Giroux

Review Posted Online: Dec. 23, 2019

Kirkus Reviews Issue: Jan. 15, 2020

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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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Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.

THE HANDMAID'S TALE

The time is the not-so-distant future, when the US's spiraling social freedoms have finally called down a reaction, an Iranian-style repressive "monotheocracy" calling itself the Republic of Gilead—a Bible-thumping, racist, capital-punishing, and misogynistic rule that would do away with pleasure altogether were it not for one thing: that the Gileadan women, pure and true (as opposed to all the nonbelieving women, those who've ever been adulterous or married more than once), are found rarely fertile.

Thus are drafted a whole class of "handmaids," whose function is to bear the children of the elite, to be fecund or else (else being certain death, sent out to be toxic-waste removers on outlying islands). The narrative frame for Atwood's dystopian vision is the hopeless private testimony of one of these surrogate mothers, Offred ("of" plus the name of her male protector). Lying cradled by the body of the barren wife, being meanwhile serviced by the husband, Offred's "ceremony" must be successful—if she does not want to join the ranks of the other disappeared (which include her mother, her husband—dead—and small daughter, all taken away during the years of revolt). One Of her only human conduits is a gradually developing affair with her master's chauffeur—something that's balanced more than offset, though, by the master's hypocritically un-Puritan use of her as a kind of B-girl at private parties held by the ruling men in a spirit of nostalgia and lust. This latter relationship, edging into real need (the master's), is very effectively done; it highlights the handmaid's (read Everywoman's) eternal exploitation, profane or sacred ("We are two-legged wombs, that's all: sacred vessels, ambulatory chalices"). Atwood, to her credit, creates a chillingly specific, imaginable night-mare. The book is short on characterization—this is Atwood, never a warm writer, at her steeliest—and long on cynicism—it's got none of the human credibility of a work such as Walker Percy's Love In The Ruins. But the scariness is visceral, a world that's like a dangerous and even fatal grid, an electrified fence.

Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.

Pub Date: Feb. 17, 1985

ISBN: 038549081X

Page Count: -

Publisher: Houghton Mifflin

Review Posted Online: Sept. 16, 2011

Kirkus Reviews Issue: Jan. 15, 1985

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