The novel often evokes the twilight graces of a classic pop ballad, each lyric evoked with care in a cocktail lounge by a...

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OUR TOWN

If Ernest Hemingway had chosen to write about late-20th-century Hollywood while wearing Tennessee Williams’ sunglasses, the result might read very much like this.

McEnroe, the son of Oscar-winning actress Tatum O’Neal and tennis superstar John McEnroe, brings to his first novel a shrewd, melancholy knowledge of celebrity and its discontents. It tracks the descent of Hollywood actress Dorothy White from her charmed, promising youth to dismal, mortifying late-middle age. The Georgia-bred Dorothy is described early on as “a B-movie actress who only briefly experienced any true success, her beauty and her vanilla voice and her appetite for proper living earn[ing] her, almost, infamy.” But she also wanted to be “a good woman. A good wife, and a good mother. And a good grandmother, too.” As detailed as a coroner’s report, but with the delicacy of a romantic elegy, the book spans decades in its description of Dorothy’s best and worst impulses; her penchant for relationships with abusive men, beginning with her more successful movie-star husband, Dale; and, most poignantly, how her addictions to alcohol, tobacco, and drugs abet her physical and emotional decline. The book abounds in rich descriptions of the Southern California landscape, whether of grand Hollywood parties or of a seedy off-track betting parlor in Ventura. Those who know about McEnroe’s family history will find it next-to-impossible not to be haunted while reading by the memory of his actress grandmother, Joanna Moore (1934-1997), with whom Dorothy shares several biographic details. Yet it’s a measure of McEnroe’s promise as a writer that his main character transcends real-life memories to become a vivid, enrapturing personality in her own right. McEnroe’s writing style is felicitously hard-boiled, by turns tender and sardonic, but never less than compassionate toward an ill-starred woman who “never quite figured out how to get out of her own way.”

The novel often evokes the twilight graces of a classic pop ballad, each lyric evoked with care in a cocktail lounge by a soft, sultry voice etched with pain.

Pub Date: May 12, 2015

ISBN: 978-1-61902-528-8

Page Count: 256

Publisher: Counterpoint

Review Posted Online: April 1, 2015

Kirkus Reviews Issue: April 15, 2015

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A gut-wrenching debut.

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MY DARK VANESSA

The #MeToo movement forces a struggling young woman to confront the abusive relationship that defines her sexual and romantic past.

At 15, Vanessa Wye falls for her English teacher at Browick, a private boarding school. Jacob Strane is 42, "big, broad, and so tall that his shoulders hunch as though his body wants to apologize for taking up so much space." Strane woos Vanessa with Nabokov's novels, Plath's poetry, and furtive caresses in his back office. "I think we're very similar, Nessa," Strane tells her during a one-on-one conference. "I can tell from the way you write that you're a dark romantic like me." Soon, Vanessa is reveling in her newfound power of attraction, pursuing sleepovers at Strane's house, and conducting what she feels is a secret affair right under the noses of the administration. More than 15 years later, at the height of the #MeToo movement, Taylor Birch, another young woman from Browick, publicly accuses Strane of sexual abuse. When a young journalist reaches out to Vanessa to corroborate Taylor's story, Vanessa's world begins to unravel. "Because even if I sometimes use the word abuse to describe certain things that were done to me, in someone else's mouth the word turns ugly and absolute....It swallows me and all the times I wanted it, begged for it," Vanessa tells herself. Russell weaves Vanessa's memories of high school together with the social media–saturated callout culture of the present moment, as Vanessa struggles to determine whether the love story she has told about herself is, in fact, a tragedy of unthinkable proportions. Russell's debut is a rich psychological study of the aftermath of abuse, and her novel asks readers both to take Vanessa's assertions of agency at face value and to determine the real, psychological harm perpetrated against her by an abusive adult. What emerges is a devastating cultural portrait of enablement and the harm we allow young women to shoulder. "The excuses we make for them are outrageous," Vanessa concludes about abusive men, "but they're nothing compared with the ones we make for ourselves."

A gut-wrenching debut.

Pub Date: March 10, 2020

ISBN: 978-0-06-294150-3

Page Count: 384

Publisher: Morrow/HarperCollins

Review Posted Online: Aug. 19, 2019

Kirkus Reviews Issue: Sept. 1, 2019

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Traversing topics of love, race, and class, this emotionally complex novel speaks to—and may reverberate beyond—our troubled...

A GOOD NEIGHBORHOOD

A riveting, potentially redemptive story of modern American suburbia that reads almost like an ancient Greek tragedy.

When the Whitmans, a nouveau riche white family, move into a sprawling, newly built house next door to Valerie Alston-Holt, a black professor of forestry and ecology, and her musically gifted, biracial 18-year-old son, Xavier, in a modest, diverse North Carolina neighborhood of cozy ranch houses on wooded lots, it is clear from the outset things will not end well. The neighborhood itself, which serves as the novel’s narrator and chorus, tells us so. The story begins on “a Sunday afternoon in May when our neighborhood is still maintaining its tenuous peace, a loose balance between old and new, us and them,” we are informed in the book’s opening paragraph. “Later this summer when the funeral takes place, the media will speculate boldly on who’s to blame.” The exact nature of the tragedy that has been foretold and questions of blame come into focus gradually as a series of events is set inexorably in motion when the Whitmans’ cloistered 17-year-old daughter, Juniper, encounters Xavier. The two teenagers tumble into a furtive, pure-hearted romance even as Xavier’s mom and Juniper’s stepfather, Brad, a slick operator who runs a successful HVAC business and has secrets of his own, lock horns in a legal battle over a dying tree. As the novel builds toward its devastating climax, it nimbly negotiates issues of race and racism, class and gentrification, sex and sexual violence, environmental destruction and other highly charged topics. Fowler (A Well-Behaved Woman, 2018, etc.) empathetically conjures nuanced characters we won’t soon forget, expertly weaves together their stories, and imbues the plot with a sense of inevitability and urgency. In the end, she offers an opportunity for catharsis as well as a heartfelt, hopeful call to action.

Traversing topics of love, race, and class, this emotionally complex novel speaks to—and may reverberate beyond—our troubled times.

Pub Date: Feb. 4, 2020

ISBN: 978-1-250-23727-9

Page Count: 288

Publisher: St. Martin's

Review Posted Online: Oct. 1, 2019

Kirkus Reviews Issue: Oct. 15, 2019

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