Uneven, but stinging dialogue and sharp insights offer strong foundations on which this novice author can build.
Postwar marriage and motherhood are more complicated than two cousins expected in Klaussmann’s smart, unsettling debut.
In September 1945, Nick and Helena are drinking gin in their backyard in Cambridge, Mass., looking forward to the end of rationing and the beginning of their adult lives. Helena is headed for Hollywood to marry Avery Lewis, Nick to Florida to be reunited with her Navy veteran husband, Hughes Derringer. Part I chronicles that less-than-successful reunion from Nick’s point of view, then moves back to Cambridge as both women become pregnant in 1947. Tiger House, Nick’s family home on Martha’s Vineyard, sees a turbulent summer in 1959 when Nick’s daughter Daisy (this section’s viewpoint character) and Helena’s son Ed discover the corpse of a Portuguese maid. We eventually find out who killed Elena Nunes, but the focus is on simmering tensions within and between the two families as the narrative moves into the 1960s and expands to include Helena’s, Hughes’ and Ed’s perspectives. Restless Nick has casual flings that make both Hughes and her unhappy. Avery, obsessed with a dead movie star, gets Helena hooked on pills and pimps her out to a producer. Passive-aggressive Helena, instead of dumping Avery, blames all her problems on the admittedly bossy Nick and encourages creepily detached Ed to resent Nick too. Daisy gets engaged to a young man who seems far too interested in her glamorous mother. Developments in the Lewis family strain credulity, but Klaussmann’s pitch-perfect portrait of the Derringer marriage gives the novel a strong emotional charge. Nick is frustrated by life as a decorative appendage; Hughes is uneasily aware that the part of himself he’s always held in reserve has something to do with her infidelities. Their complicated, painfully loving relationship and their mutual tenderness for fresh-faced Daisy ring true, while the odysseys of Helena and Ed clang with melodrama.
Uneven, but stinging dialogue and sharp insights offer strong foundations on which this novice author can build.Pub Date: July 17, 2012
ISBN: 978-0-316-21133-8
Page Count: 368
Publisher: Little, Brown
Review Posted Online: April 28, 2012
Kirkus Reviews Issue: June 1, 2012
BOOK REVIEW
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...
Four Chicago sisters anchor a sharp, sly family story of feminine guile and guilt.
Newcomer Lombardo brews all seven deadly sins into a fun and brimming tale of an unapologetically bougie couple and their unruly daughters. In the opening scene, Liza Sorenson, daughter No. 3, flirts with a groomsman at her sister’s wedding. “There’s four of you?” he asked. “What’s that like?” Her retort: “It’s a vast hormonal hellscape. A marathon of instability and hair products.” Thus begins a story bristling with a particular kind of female intel. When Wendy, the oldest, sets her sights on a mate, she “made sure she left her mark throughout his house—soy milk in the fridge, box of tampons under the sink, surreptitious spritzes of her Bulgari musk on the sheets.” Turbulent Wendy is the novel’s best character, exuding a delectable bratty-ness. The parents—Marilyn, all pluck and busy optimism, and David, a genial family doctor—strike their offspring as impossibly happy. Lombardo levels this vision by interspersing chapters of the Sorenson parents’ early lean times with chapters about their daughters’ wobbly forays into adulthood. The central story unfurls over a single event-choked year, begun by Wendy, who unlatches a closed adoption and springs on her family the boy her stuffy married sister, Violet, gave away 15 years earlier. (The sisters improbably kept David and Marilyn clueless with a phony study-abroad scheme.) Into this churn, Lombardo adds cancer, infidelity, a heart attack, another unplanned pregnancy, a stillbirth, and an office crush for David. Meanwhile, youngest daughter Grace perpetrates a whopper, and “every day the lie was growing like mold, furring her judgment.” The writing here is silky, if occasionally overwrought. Still, the deft touches—a neighborhood fundraiser for a Little Free Library, a Twilight character as erotic touchstone—delight. The class calibrations are divine even as the utter apolitical whiteness of the Sorenson world becomes hard to fathom.
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet another pleasurable tendril of sisterly malice uncurls.Pub Date: June 25, 2019
ISBN: 978-0-385-54425-2
Page Count: 544
Publisher: Doubleday
Review Posted Online: March 3, 2019
Kirkus Reviews Issue: March 15, 2019
SEEN & HEARD
Too beholden to sentimentality and cliché, this novel fails to establish a uniquely realized perspective.
Hunter’s debut novel tracks the experiences of her family members during the Holocaust.
Sol and Nechuma Kurc, wealthy, cultured Jews in Radom, Poland, are successful shop owners; they and their grown children live a comfortable lifestyle. But that lifestyle is no protection against the onslaught of the Holocaust, which eventually scatters the members of the Kurc family among several continents. Genek, the oldest son, is exiled with his wife to a Siberian gulag. Halina, youngest of all the children, works to protect her family alongside her resistance-fighter husband. Addy, middle child, a composer and engineer before the war breaks out, leaves Europe on one of the last passenger ships, ending up thousands of miles away. Then, too, there are Mila and Felicia, Jakob and Bella, each with their own share of struggles—pain endured, horrors witnessed. Hunter conducted extensive research after learning that her grandfather (Addy in the book) survived the Holocaust. The research shows: her novel is thorough and precise in its details. It’s less precise in its language, however, which frequently relies on cliché. “You’ll get only one shot at this,” Halina thinks, enacting a plan to save her husband. “Don’t botch it.” Later, Genek, confronting a routine bit of paperwork, must decide whether or not to hide his Jewishness. “That form is a deal breaker,” he tells himself. “It’s life and death.” And: “They are low, it seems, on good fortune. And something tells him they’ll need it.” Worse than these stale phrases, though, are the moments when Hunter’s writing is entirely inadequate for the subject matter at hand. Genek, describing the gulag, calls the nearest town “a total shitscape.” This is a low point for Hunter’s writing; elsewhere in the novel, it’s stronger. Still, the characters remain flat and unknowable, while the novel itself is predictable. At this point, more than half a century’s worth of fiction and film has been inspired by the Holocaust—a weighty and imposing tradition. Hunter, it seems, hasn’t been able to break free from her dependence on it.
Too beholden to sentimentality and cliché, this novel fails to establish a uniquely realized perspective.Pub Date: Feb. 14, 2017
ISBN: 978-0-399-56308-9
Page Count: 416
Publisher: Viking
Review Posted Online: Nov. 21, 2016
Kirkus Reviews Issue: Dec. 1, 2016
BOOK TO SCREEN
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