Readers familiar with Erdrich’s personal life may suspect she has written close to the bone here, but she manages the rare...
Taking a risky leap, Erdrich sets aside the magical-realist style of her many volumes about the Ojibwes (The Red Convertible, 2008 etc.) to write a domestic tragedy set among sophisticated, assimilated, highly educated and successful Native Americans.
Gil and Irene live with their kids Florian, Riel and Stony in a seemingly idyllic home in Minneapolis. Gil is a renowned painter, Irene the subject of his graphically revealing portraits. Also a gifted historian, she is currently doing research for her doctorate dissertation about the painter George Catlin. Self-consciously aware of their heritage, Gil (raised in poverty by his white mother after his Native American father’s death in Vietnam) and Irene (given a middle-class upbringing by her AIM activist mother) know that observers consider them an iconic couple. But Gil has a habit of brutalizing the children he cherishes, and Irene cannot relinquish the glass of wine always in her hand to protect them. When Irene realizes that Gil has been reading her diary, she feels her soul has been invaded. She begins writing entries to play with his mind, torturing him about an affair he imagines she is having. Obsessed with his love for Irene, Gil thinks that he wants to save the marriage. Irene thinks that she wants to free herself from Gil. Both are lying to themselves. Erdrich’s unsparing prose dissects these two deeply flawed characters to show their ugliest selves, yet she allows them each their moments of joy and spiritual respite alone, together and with their children. Into this deeply personal novel about marriage, family and individual identity, she also weaves broader questions about cause and effect in history—specifically the effect Catlin’s painting of Native Americans had on them and on him—that resonate within her characters’ lives.
Readers familiar with Erdrich’s personal life may suspect she has written close to the bone here, but she manages the rare achievement of rising above the facts she has incorporated to create a small masterpiece of compelling, painfully moving fiction.Pub Date: Feb. 2, 2010
ISBN: 978-0-06-153609-0
Page Count: 272
Publisher: Harper/HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 1, 2009
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
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.
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. 5, 2018
Kirkus Reviews Issue: Feb. 15, 2018
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