A poignant tale of unrequited love and sexual longing that burns slowly and lingers like cigarette smoke.
In Perry’s novel, a former actor reflects on life with a Hollywood power couple.
During the O.J. Simpson scandal, Daniel Root learns of the death of mogul Milford “Milly” Langen, whose wife, actress Lillian “Lilly” Sinclair, committed suicide in 1982. Although never an A-Lister, Root enjoyed a brief stint in pictures until the film offers “dried up like the chaparral on the Hollywood Hills.” His stage name was Dexter Gaines—“Dex” to Milly and Lilly—and the trio was together for two years, separating in anger the night Dex almost strangled Milly. Four decades prior, Dex had arrived from Texas determined to be a star, blessed with good looks, a birthmark on his lip (“a bit of bittersweet chocolate”) and shaky hands that he calmed by smoking pot. Dex first encountered Milly and Lilly on New Year’s Eve 1952 and later crossed paths with Cary Grant, Tallulah Bankhead, Tony Curtis and Darryl F. Zanuck, to whom Milly was second-in-command. With the advent of TV, studio heads feared audiences would stay home, but the real drama is in the trio’s affairs and the secrets each kept. Deftly mixing fictional characters with well-known personalities of Hollywood’s golden age, this subtly powerful novel is neither slick nor sleazy, and it’s thankfully devoid of caricature. Milly, Lilly and Dex are finely drawn with foibles of the flesh in a Truman Capote–like piece that may leave readers pining for Bogie and Bacall. At heart, it’s a love story, deeply affecting and tinged with pathos. Granted, the scandalous behavior of the 1950s seems, at present, to be relatively tame, and the big reveals are played less for shock than emotional resonance, though at least one may fail to surprise. In such a dramatic setting, some melodrama is to be expected, but here, it’s kept to a minimum. Overall, the narrative is rich in detail, and everything matters in this fully realized world.
A poignant tale of unrequited love and sexual longing that burns slowly and lingers like cigarette smoke.Pub Date: N/A
ISBN: N/A
Page Count: -
Publisher: Starboard Home Press
Review Posted Online: April 5, 2014
Kirkus Reviews Issue: May 15, 2014
Review Program: Kirkus Indie
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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