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ONE NIGHT WITH LILITH

A cleareyed and adeptly composed investigation of a marriage.

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A devastating fire causes a couple in crisis to look back over their long marriage in Golan’s (Where Things Are When You Lose Them, 2008, etc.) literary novel.

Rob and Amy Lerner are sitting in their favorite restaurant deciding to get divorced while, a few blocks away, their house burns to the ground. The fire destroys Amy’s painting studio and all of her art; Rob’s home office and all the material related to his import business; and every object, photograph, and heirloom that they owned. The couple is left staring at the rubble of their lives “like the body of a loved one under a sheet. The house was like that, a lost loved one.” The two met many years earlier in New York City, where Amy, then named Geller, was a promising—if unconfident—artist, and Rob worked as a Yeshiva teacher to avoid a military draft. At the time, Rob identified Amy with Lilith—the first wife of Adam who wouldn’t submit to his dominion, who’s sometimes interpreted as a demon and stealer of children: “To Rob Lerner [Lilith] was simply the woman you will never tire of, never look at without lust, who will never lose her mystery, the woman who will make you whole.” The couple’s relationship was always combustive, however, and even after they marry, find financial success, and raise a son, Marco, the couple is haunted by events from their pasts—Amy’s brother Mickey’s death and the traumas of Rob’s Holocaust-survivor father, Sol. The novel reviews their rocky relationship and asks where, exactly, it all went wrong. Also, how did the fire, which punctuated their dissolution, start? And what does Rob’s identification of Amy with Lilith—whom Sol claims to have seen in a Polish orchard during the war—say about the couple? Golan’s prose is exact and insightful and full of lines that encapsulate the particular deficiencies of the Lerners’ marriage: “They had grown over the years to dislike each other with a passion that would have been admirable, perhaps breathtakingly beautiful, had it been love.” He constructs the characters of Rob and Amy in a deliberate manner and with great attention to detail. With incredible specificity, the author manages to present an affecting and recognizable portrait of coupledom, and as the storylines grow, their thorny lives become more deeply intertwined. Amy, in particular, is a fully imagined being—knowable when the reader takes her side and completely mysterious when the reader aligns with Rob. The Judaica in the story’s background lends it a slightly mystical mood, and it infuses the proceedings with a grim sense of inevitability. The book does drag in some places, and the reader may be forgiven for wanting to get back to the present-day plotline before realizing that the past is the main story. That said, Golan’s skillful and compelling character work is enough to keep the readers wondering, as Rob and Amy do, about the impossibility of happiness and the meaning of love.

A cleareyed and adeptly composed investigation of a marriage.

Pub Date: Nov. 13, 2019

ISBN: 978-1-951214-49-4

Page Count: 284

Publisher: Adelaide Books

Review Posted Online: Jan. 27, 2020

Kirkus Reviews Issue: March 1, 2020

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SUMMER ISLAND

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with...

Talk-show queen takes tumble as millions jeer.

Nora Bridges is a wildly popular radio spokesperson for family-first virtues, but her loyal listeners don't know that she walked out on her husband and teenaged daughters years ago and didn't look back. Now that a former lover has sold racy pix of naked Nora and horny himself to a national tabloid, her estranged daughter Ruby, an unsuccessful stand-up comic in Los Angeles, has been approached to pen a tell-all. Greedy for the fat fee she's been promised, Ruby agrees and heads for the San Juan Islands, eager to get reacquainted with the mom she plans to betray. Once in the family homestead, nasty Ruby alternately sulks and glares at her mother, who is temporarily wheelchair-bound as a result of a post-scandal car crash. Uncaring, Ruby begins writing her side of the story when she's not strolling on the beach with former sweetheart Dean Sloan, the son of wealthy socialites who basically ignored him and his gay brother Eric. Eric, now dying of cancer and also in a wheelchair, has returned to the island. This dismal threesome catch up on old times, recalling their childhood idylls on the island. After Ruby's perfect big sister Caroline shows up, there's another round of heartfelt talk. Nora gradually reveals the truth about her unloving husband and her late father's alcoholism, which led her to seek the approval of others at the cost of her own peace of mind. And so on. Ruby is aghast to discover that she doesn't know everything after all, but Dean offers her subdued comfort. Happy endings await almost everyone—except for readers of this nobly preachy snifflefest.

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with syrupy platitudes about life and love.

Pub Date: March 1, 2001

ISBN: 0-609-60737-5

Page Count: 336

Publisher: Crown

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Jan. 15, 2001

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LAST ORDERS

Britisher Swift's sixth novel (Ever After, 1992 etc.) and fourth to appear here is a slow-to-start but then captivating tale of English working-class families in the four decades following WW II. When Jack Dodds dies suddenly of cancer after years of running a butcher shop in London, he leaves a strange request—namely, that his ashes be scattered off Margate pier into the sea. And who could better be suited to fulfill this wish than his three oldest drinking buddies—insurance man Ray, vegetable seller Lenny, and undertaker Vic, all of whom, like Jack himself, fought also as soldiers or sailors in the long-ago world war. Swift's narrative start, with its potential for the melodramatic, is developed instead with an economy, heart, and eye that release (through the characters' own voices, one after another) the story's humanity and depth instead of its schmaltz. The jokes may be weak and self- conscious when the three old friends meet at their local pub in the company of the urn holding Jack's ashes; but once the group gets on the road, in an expensive car driven by Jack's adoptive son, Vince, the story starts gradually to move forward, cohere, and deepen. The reader learns in time why it is that no wife comes along, why three marriages out of three broke apart, and why Vince always hated his stepfather Jack and still does—or so he thinks. There will be stories of innocent youth, suffering wives, early loves, lost daughters, secret affairs, and old antagonisms—including a fistfight over the dead on an English hilltop, and a strewing of Jack's ashes into roiling seawaves that will draw up feelings perhaps unexpectedly strong. Without affectation, Swift listens closely to the lives that are his subject and creates a songbook of voices part lyric, part epic, part working-class social realism—with, in all, the ring to it of the honest, human, and true.

Pub Date: April 5, 1996

ISBN: 0-679-41224-7

Page Count: 304

Publisher: Knopf

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Feb. 15, 1996

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