A heartfelt novel that celebrates its implausibility with a unique joie de vivre.

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OONA OUT OF ORDER

What would you say to your younger self if you could give her advice?

“Wise beyond their years” is an expression we’ve all heard before. But for one Brooklyn teen, that saying becomes all too real when an unexplained event causes her to begin living her adult life in random order. On New Year’s Eve 1982, Oona Lockhart is about to turn 19. Change is on the horizon, as she must decide whether to leave school to tour with her band, Early Dawning, or quit the band to continue her studies in London. Does she follow her loving boyfriend and band mate, Dale, or does she make a stable, independent decision for herself? Almost as if standing on a precipice between past and future, Oona finds it important to tell herself: “Remember this party. Every second of it. Every person here.” When the clock strikes midnight, she opens her eyes to a reality far different from the one she'd been experiencing—and decades later. The abrupt shift sets the pace for the rest of the book—it turns out that even when you’re living life out of order, time passes just as quickly. Right as you settle in with one version of Oona, whether it be free-spirited, club-going Oona or middle-aged investor Oona, it’s almost New Year’s again. The effect is something like narrative jet lag, making it impossible to feel grounded in time. Which is, no doubt, the point. Montimore (Asleep From Day, 2018) is not afraid to wrench Oona from one season of life to another, satisfied with ending a year in a fashion as incomplete as this: “She didn’t get a chance to finish her sentence.” These vignettes, removed from linear neatness, celebrate the unpredictability and imperfect nature of life. Even when Oona has the opportunity to leave notes for the next version of herself, it doesn’t always mean she’ll follow her advice. With each temporal shift, Oona is left longing for what came before, but supporting characters like Oona’s mom, Madeleine, and confidante, Kenzie, serve as talismans that guide her back to the present. In the end, we must give credit to Oona for finding joy and even humor in her situation and to Montimore for developing a complex narrative held together by simple truths. Read this to get a bit lost, to root for a character with a strong love for herself, and to connect on a deeply human level with the fear of leading an incomplete life.

A heartfelt novel that celebrates its implausibility with a unique joie de vivre.

Pub Date: Feb. 25, 2020

ISBN: 978-1-250-23660-9

Page Count: 352

Publisher: Flatiron Books

Review Posted Online: Nov. 10, 2019

Kirkus Reviews Issue: Dec. 1, 2019

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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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With her second novel, Ng further proves she’s a sensitive, insightful writer with a striking ability to illuminate life in...

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LITTLE FIRES EVERYWHERE

This incandescent portrait of suburbia and family, creativity, and consumerism burns bright.

It’s not for nothing that Ng (Everything I Never Told You, 2014) begins her second novel, about the events leading to the burning of the home of an outwardly perfect-seeming family in Shaker Heights, Ohio, circa 1997, with two epigraphs about the planned community itself—attesting to its ability to provide its residents with “protection forever against…unwelcome change” and “a rather happy life” in Utopia. But unwelcome change is precisely what disrupts the Richardson family’s rather happy life, when Mia, a charismatic, somewhat mysterious artist, and her smart, shy 15-year-old daughter, Pearl, move to town and become tenants in a rental house Mrs. Richardson inherited from her parents. Mia and Pearl live a markedly different life from the Richardsons, an affluent couple and their four high school–age children—making art instead of money (apart from what little they need to get by); rooted in each other rather than a particular place (packing up what fits in their battered VW and moving on when “the bug” hits); and assembling a hodgepodge home from creatively repurposed, scavenged castoffs and love rather than gathering around them the symbols of a successful life in the American suburbs (a big house, a large family, gleaming appliances, chic clothes, many cars). What really sets Mia and Pearl apart and sets in motion the events leading to the “little fires everywhere” that will consume the Richardsons’ secure, stable world, however, is the way they hew to their own rules. In a place like Shaker Heights, a town built on plans and rules, and for a family like the Richardsons, who have structured their lives according to them, disdain for conformity acts as an accelerant, setting fire to the dormant sparks within them. The ultimate effect is cataclysmic. As in Everything I Never Told You, Ng conjures a sense of place and displacement and shows a remarkable ability to see—and reveal—a story from different perspectives. The characters she creates here are wonderfully appealing, and watching their paths connect—like little trails of flame leading inexorably toward one another to create a big inferno—is mesmerizing, casting into new light ideas about creativity and consumerism, parenthood and privilege.

With her second novel, Ng further proves she’s a sensitive, insightful writer with a striking ability to illuminate life in America.

Pub Date: Sept. 12, 2017

ISBN: 978-0-7352-2429-2

Page Count: 384

Publisher: Penguin Press

Review Posted Online: June 20, 2017

Kirkus Reviews Issue: July 1, 2017

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