A novel that is not afraid to look at the underbelly of parenting, queer relationships, and middle age.
A lesbian couple raises a son with a disconcerting dark side.
Sammie and Monika are a gay Central Florida couple: Monika is a successful lawyer, and Sammie works part time from home as a copy editor so she can be there for their son, Samson. Even from toddlerhood, Samson is an inscrutable child. At 4, he calmly allows himself to be nearly abducted by a man on a playground; as a fourth grader he carries around a doll double of himself that Sammie helped him make for a school project. And Sammie is ill at ease in her mom role: She sees herself as “a former manager now reduced to running a household. And…not even running it all that well.” When Monika calls Sammie one night from the ER claiming that Samson has bitten another child, Sammie must confront the fundamental terror she feels in the face of parenting her son: “Maybe love is always a thing,” she thinks, “that’s resting on the edge of violence.” As Samson grows, his behavior pushes over that edge, and Sammie must confront her own destructive impulses and the role she plays in her son’s, and her family’s, unravelling. Arnett writes movingly of the loneliness Sammie feels in the queer community once she becomes a parent, at times even flashing outside of Sammie’s point of view for brief interludes to show how outsiders see her in ways that she cannot clearly see herself. As in her first novel, Mostly Dead Things (2019), Arnett deftly examines the psychological dynamics of a family, raising complicated questions about whether mothers can ever truly understand how to raise sons and whether our children, too often, are mirrors of our own worst tendencies.
A novel that is not afraid to look at the underbelly of parenting, queer relationships, and middle age.Pub Date: June 1, 2021
ISBN: 978-0-593-19150-7
Page Count: 304
Publisher: Riverhead
Review Posted Online: March 16, 2021
Kirkus Reviews Issue: April 1, 2021
BOOK REVIEW
BOOK REVIEW
An affecting portrait of a prickly woman.
A lifetime’s worth of letters combine to portray a singular character.
Sybil Van Antwerp, a cantankerous but exceedingly well-mannered septuagenarian, is the titular correspondent in Evans’ debut novel. Sybil has retired from a beloved job as chief clerk to a judge with whom she had previously been in private legal practice. She is the divorced mother of two living adult children and one who died when he was 8. She is a reader of novels, a gardener, and a keen observer of human nature. But the most distinguishing thing about Sybil is her lifelong practice of letter writing. As advancing vision problems threaten Sybil’s carefully constructed way of life—in which letters take the place of personal contact and engagement—she must reckon with unaddressed issues from her past that threaten the house of cards (letters, really) she has built around herself. Sybil’s relationships are gradually revealed in the series of letters sent to and received from, among others, her brother, sister-in-law, children, former work associates, and, intriguingly, literary icons including Joan Didion and Larry McMurtry. Perhaps most affecting is the series of missives Sybil writes but never mails to a shadowy figure from her past. Thoughtful musings on the value and immortal quality of letters and the written word populate one of Sybil’s notes to a young correspondent while other messages are laugh-out-loud funny, tinged with her characteristic blunt tartness. Evans has created a brusque and quirky yet endearing main character with no shortage of opinions and advice for others but who fails to excavate the knotty difficulties of her own life. As Sybil grows into a delayed self-awareness, her letters serve as a chronicle of fitful growth.
An affecting portrait of a prickly woman.Pub Date: May 6, 2025
ISBN: 9780593798430
Page Count: 304
Publisher: Crown
Review Posted Online: Feb. 15, 2025
Kirkus Reviews Issue: March 15, 2025
SEEN & HEARD
A pleasant if not entirely convincing tribute to the power of art.
A French art historian’s English-language fiction debut combines the story of a loving relationship between a grandfather and granddaughter with an enlightening discussion of art.
One day, when 10-year-old Mona removes the necklace given to her by her now-dead grandmother, she experiences a frightening, hour-long bout of blindness. Her parents take her to the doctor, who gives her a variety of tests and also advises that she see a psychiatrist. Her grandfather Henry tells her parents that he will take care of that assignment, but instead, he takes Mona on weekly visits to either the Louvre, the Musée d’Orsay, or the Centre Pompidou, where each week they study a single work of art, gazing at it deeply and then discussing its impact and history and the biography of its maker. For the reader’s benefit, Schlesser also describes each of the works in scrupulous detail. As the year goes on, Mona faces the usual challenges of elementary school life and the experiences of being an only child, and slowly begins to understand the causes of her temporary blindness. Primarily an amble through a few dozen of Schlesser’s favorite works of art—some well known and others less so, from Botticelli and da Vinci through Basquiat and Bourgeois—the novel would probably benefit from being read at a leisurely pace. While the dialogue between Henry and the preternaturally patient and precocious Mona sometimes strains credulity, readers who don’t have easy access to the museums of Paris may enjoy this vicarious trip in the company of a guide who focuses equally on that which can be seen and the context that can’t be. Come for the novel, stay for the introductory art history course.
A pleasant if not entirely convincing tribute to the power of art.Pub Date: Aug. 26, 2025
ISBN: 9798889661115
Page Count: 432
Publisher: Europa Editions
Review Posted Online: June 7, 2025
Kirkus Reviews Issue: July 15, 2025
SEEN & HEARD
SEEN & HEARD
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