THE LOST GIRLS

A great concept—why women fall for Peter Pans who never grow up—with a less than great delivery.

This time out, poet/second-novelist Fox (My Sister from the Black Lagoon, 1998) focuses on Wendy, the fifth generation of Darling women to make the flight to Neverland. The Darlings are, “like all women attracted to men who charm but don’t commit, lost girls” who find it difficult to settle down to reality. Peter, with his island, free-spirited ways, and his gift of flight, will forever haunt them as they try to find men as charming but more mature. Narrated by Wendy Darling Braverman, great granddaughter of J.M Barrie’s original Wendy, the story begins as 40-ish Wendy, living in San Francisco with husband Freeman and teenaged daughter Berry, is recovering from a breakdown. Both hurt and touched by magic, she feels that her family’s visits to Neverland—maybe illusionary—have distorted their lives. Her father, who founded an airline, was a charming man who deserted his family: aging Nana, in London, is still trying to fly, and grandmother Jane has been gone for years. Since childhood, Wendy knew about the family’s rite of passage—the appearance in adolescence of a charming boy with whom she’d fly to Neverland. Peter duly appeared, but Wendy’s visit was a disturbing mix of happy and bad memories (she may have been raped by Captain Hook) that continue to haunt her. Moving between past and the present, Wendy, a children’s storywriter, recalls her childhood and marriage as she prepares daughter Berry for Peter’s arrival. Berry, deeply troubled and conflicted, is the only Darling who can’t fly, finding it increasingly difficult to live with the Darling legend. When mother and daughter are hospitalized, the appearance of grandmother Jane, dressed as an aviatrix, helps Wendy understand herself, her family, and the hold that Peter has on them all—a gift that allows the Darling women to soar above the quotidian.

Overwrought, overwritten, unpersuasive.