Perfectly rendered characters anchor a novel built around a fierce, flawed, and loving family.
As members of the Padilla family navigate their way through the harsh realities of life in northern New Mexico over the course of a year, they discover the depths of their faith in each other and in themselves.
The Padillas are an old family from the fading village of Las Penas, but now they've dwindled to four people: the matriarch, Yolanda; her two adult children, Amadeo and Valerie; and her elderly Tío Tíve, head of the village’s morada, an informal religious meeting house, where he has chosen Amadeo for the role of Jesus in the upcoming Good Friday procession. Amadeo, unemployed and alcoholic, still lives with his mother. As the book opens, Yolanda is on vacation in Las Vegas; Amadeo's estranged teenage daughter, Angel, shows up on his doorstep, pregnant, after having had a fight with her mother, and Amadeo reluctantly takes her in. Angel, who is in a school for teenage mothers, idolizes her teacher, Brianna, a young woman from Oregon. Meanwhile, in Las Vegas, Yolanda goes to the emergency room and receives a devastating diagnosis, sending her back home to her children and grandchildren, determined to find a way to fix the crumbling foundations of their relationships. However, the birth of Angel’s son and Amadeo’s lifelong habit of financial and emotional dependence on his mother blind them to Yolanda’s rapidly declining health. When Brianna instigates a secret sexual relationship with Amadeo, they are each guilty of being selfish and careless with Angel’s life, but it is Brianna who causes a series of reverberating consequences for Angel and the other girls in the program while she walks away unscathed. With beautifully layered relationships and an honest yet profoundly empathetic picture of a rural community—where the families proudly trace their roots back to the Spanish conquistadors while struggling with poverty and a deadly drug epidemic—this novel is a brilliant meditation on love and redemption.
Perfectly rendered characters anchor a novel built around a fierce, flawed, and loving family.Pub Date: April 6, 2021
ISBN: 978-0-393-24283-6
Page Count: 432
Publisher: Norton
Review Posted Online: Jan. 27, 2021
Kirkus Reviews Issue: Feb. 15, 2021
BOOK REVIEW
SEEN & HEARD
PERSPECTIVES
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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