The good news is that Schmidt still feels he has 10 years to live, which likely means at least one more novel.

SCHMIDT STEPS BACK

In the third of the Schmidt novels, what had been described as a comedy of manners turns tragic and redemptive.

Updike had Rabbit, Roth has Zuckerman, Richard Ford has Bascombe and Begley has Schmidt. While all serve a similar purpose, to illuminate American life and culture through the passages of one man’s maturation, the return of “Schmidtie” represents a significant advance from preceding volumes (Schmidt Delivered, 2000, etc.). An even longer interval has passed in Schmidt’s life than between books, since the protagonist readers knew in his early 60s is now 78 (it’s hard to imagine Jack Nicholson continuing in this role). Now deep into his second career, as a retired lawyer turned foundation head, he is much more concerned with topical events—wars and terrorism and politics (he loves Obama). And he has found new love with a woman who is more age appropriate, merely 15 years his junior (in contrast with the promiscuous waitress, younger than his daughter, who continues to play a key role in his life). Artistically and thematically, this is the most ambitious novel in the Schmidt cycle, also the longest, and it requires familiarity with the earlier volumes to appreciate its richness. It ties the ends left loose at the conclusion of the last—his relationships with his daughter and his former lover, and the anticipation of the two babies that will make him a grandfather (and perhaps a father as well). Yet chronologically this isn’t a mere continuation of the Schmidt narrative, but one that finds him reflecting (“stepping back”), coming to terms with some pivotal episodes that were either downplayed or omitted from the first two novels. He has arrived at a place where he feels he has “at last grown up,” possibly capable of a “rebirth.” Yet, given the course his life has taken and the stage at which he has arrived, he compares himself to Lear and Job, facing what is likely his “last chance.”

The good news is that Schmidt still feels he has 10 years to live, which likely means at least one more novel. 

Pub Date: March 16, 2012

ISBN: 978-0-307-70065-0

Page Count: 352

Publisher: Knopf

Review Posted Online: Feb. 21, 2012

Kirkus Reviews Issue: March 1, 2012

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Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

THEN SHE WAS GONE

Ten years after her teenage daughter went missing, a mother begins a new relationship only to discover she can't truly move on until she answers lingering questions about the past.

Laurel Mack’s life stopped in many ways the day her 15-year-old daughter, Ellie, left the house to study at the library and never returned. She drifted away from her other two children, Hanna and Jake, and eventually she and her husband, Paul, divorced. Ten years later, Ellie’s remains and her backpack are found, though the police are unable to determine the reasons for her disappearance and death. After Ellie’s funeral, Laurel begins a relationship with Floyd, a man she meets in a cafe. She's disarmed by Floyd’s charm, but when she meets his young daughter, Poppy, Laurel is startled by her resemblance to Ellie. As the novel progresses, Laurel becomes increasingly determined to learn what happened to Ellie, especially after discovering an odd connection between Poppy’s mother and her daughter even as her relationship with Floyd is becoming more serious. Jewell’s (I Found You, 2017, etc.) latest thriller moves at a brisk pace even as she plays with narrative structure: The book is split into three sections, including a first one which alternates chapters between the time of Ellie’s disappearance and the present and a second section that begins as Laurel and Floyd meet. Both of these sections primarily focus on Laurel. In the third section, Jewell alternates narrators and moments in time: The narrator switches to alternating first-person points of view (told by Poppy’s mother and Floyd) interspersed with third-person narration of Ellie’s experiences and Laurel’s discoveries in the present. All of these devices serve to build palpable tension, but the structure also contributes to how deeply disturbing the story becomes. At times, the characters and the emotional core of the events are almost obscured by such quick maneuvering through the weighty plot.

Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

Pub Date: April 24, 2018

ISBN: 978-1-5011-5464-5

Page Count: 368

Publisher: Atria

Review Posted Online: Feb. 6, 2018

Kirkus Reviews Issue: Feb. 15, 2018

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The writing is merely serviceable, and one can’t help but wish the author had found a way to present her material as...

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THE TATTOOIST OF AUSCHWITZ

An unlikely love story set amid the horrors of a Nazi death camp.

Based on real people and events, this debut novel follows Lale Sokolov, a young Slovakian Jew sent to Auschwitz in 1942. There, he assumes the heinous task of tattooing incoming Jewish prisoners with the dehumanizing numbers their SS captors use to identify them. When the Tätowierer, as he is called, meets fellow prisoner Gita Furman, 17, he is immediately smitten. Eventually, the attraction becomes mutual. Lale proves himself an operator, at once cagey and courageous: As the Tätowierer, he is granted special privileges and manages to smuggle food to starving prisoners. Through female prisoners who catalog the belongings confiscated from fellow inmates, Lale gains access to jewels, which he trades to a pair of local villagers for chocolate, medicine, and other items. Meanwhile, despite overwhelming odds, Lale and Gita are able to meet privately from time to time and become lovers. In 1944, just ahead of the arrival of Russian troops, Lale and Gita separately leave the concentration camp and experience harrowingly close calls. Suffice it to say they both survive. To her credit, the author doesn’t flinch from describing the depravity of the SS in Auschwitz and the unimaginable suffering of their victims—no gauzy evasions here, as in Boy in the Striped Pajamas. She also manages to raise, if not really explore, some trickier issues—the guilt of those Jews, like the tattooist, who survived by doing the Nazis’ bidding, in a sense betraying their fellow Jews; and the complicity of those non-Jews, like the Slovaks in Lale’s hometown, who failed to come to the aid of their beleaguered countrymen.

The writing is merely serviceable, and one can’t help but wish the author had found a way to present her material as nonfiction. Still, this is a powerful, gut-wrenching tale that is hard to shake off.

Pub Date: Sept. 4, 2018

ISBN: 978-0-06-279715-5

Page Count: 272

Publisher: Harper/HarperCollins

Review Posted Online: July 17, 2018

Kirkus Reviews Issue: Aug. 1, 2018

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