By no means a failure, but Aesop and Orwell did it better.

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THE LABRADOR PACT

A faithful family friend gives his all for “his” human family in this modern beast fable, another revisionist romp from the British author of The Dead Fathers Club (2007).

This one, originally published in the UK in 2004 as The Last Family in England, is narrated by Prince, a handsome Labrador dog, who “speaks” with other nonhuman creatures and communicates with humans by means of therapeutic tail-wagging and crotch-sniffing, and well-timed warning barks. We first meet Prince in the veterinarian’s office. Schoolteacher Adam Hunter has taken the beloved pooch to be put down—for reasons then explained in a book-length flashback. Prince admits he has violated the eponymous Pact adhered to by all Labradors, “the only dogs left who were willing to devote our lives to the protection of our masters.” As Prince explains (during walks in the park) to his “mentor” Henry, a sagacious retired police dog, the Hunters are a pawful. The aforementioned Adam is, in full midlife-crisis mode, under the spell of bewitching young aromatherapist Emily. Adam’s spouse Kate is puzzlingly unsettled by their re-acquaintance with Emily’s shark-like husband Simon, Adam’s former pal, who also, it appears, has a history with Kate. And the Hunters’ teenagers, Hal and Charlotte, are…well, teenagers. Inflamed emotions and miscellaneous misbehavior intensify, and corpses of multiple species begin piling up, as Prince struggles to avert the worst, inspired by the Pact’s dictum: “If one human Family is secure and happy, it means there is security and happiness beyond.” The novel works because its central conceit, and Prince, are real charmers. But the narrative is skimpy and redundant, perilously cute and clogged with anticipations of Haig’s Shakespeare-inflected The Dead Fathers Club (besides Prince, there are fellow mutts Falstaff and Lear).

By no means a failure, but Aesop and Orwell did it better.

Pub Date: March 3, 2008

ISBN: 978-0-670-01852-9

Page Count: 352

Publisher: Viking

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Jan. 15, 2008

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A gut-wrenching debut.

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MY DARK VANESSA

The #MeToo movement forces a struggling young woman to confront the abusive relationship that defines her sexual and romantic past.

At 15, Vanessa Wye falls for her English teacher at Browick, a private boarding school. Jacob Strane is 42, "big, broad, and so tall that his shoulders hunch as though his body wants to apologize for taking up so much space." Strane woos Vanessa with Nabokov's novels, Plath's poetry, and furtive caresses in his back office. "I think we're very similar, Nessa," Strane tells her during a one-on-one conference. "I can tell from the way you write that you're a dark romantic like me." Soon, Vanessa is reveling in her newfound power of attraction, pursuing sleepovers at Strane's house, and conducting what she feels is a secret affair right under the noses of the administration. More than 15 years later, at the height of the #MeToo movement, Taylor Birch, another young woman from Browick, publicly accuses Strane of sexual abuse. When a young journalist reaches out to Vanessa to corroborate Taylor's story, Vanessa's world begins to unravel. "Because even if I sometimes use the word abuse to describe certain things that were done to me, in someone else's mouth the word turns ugly and absolute....It swallows me and all the times I wanted it, begged for it," Vanessa tells herself. Russell weaves Vanessa's memories of high school together with the social media–saturated callout culture of the present moment, as Vanessa struggles to determine whether the love story she has told about herself is, in fact, a tragedy of unthinkable proportions. Russell's debut is a rich psychological study of the aftermath of abuse, and her novel asks readers both to take Vanessa's assertions of agency at face value and to determine the real, psychological harm perpetrated against her by an abusive adult. What emerges is a devastating cultural portrait of enablement and the harm we allow young women to shoulder. "The excuses we make for them are outrageous," Vanessa concludes about abusive men, "but they're nothing compared with the ones we make for ourselves."

A gut-wrenching debut.

Pub Date: March 10, 2020

ISBN: 978-0-06-294150-3

Page Count: 384

Publisher: Morrow/HarperCollins

Review Posted Online: Aug. 19, 2019

Kirkus Reviews Issue: Sept. 1, 2019

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Traversing topics of love, race, and class, this emotionally complex novel speaks to—and may reverberate beyond—our troubled...

A GOOD NEIGHBORHOOD

A riveting, potentially redemptive story of modern American suburbia that reads almost like an ancient Greek tragedy.

When the Whitmans, a nouveau riche white family, move into a sprawling, newly built house next door to Valerie Alston-Holt, a black professor of forestry and ecology, and her musically gifted, biracial 18-year-old son, Xavier, in a modest, diverse North Carolina neighborhood of cozy ranch houses on wooded lots, it is clear from the outset things will not end well. The neighborhood itself, which serves as the novel’s narrator and chorus, tells us so. The story begins on “a Sunday afternoon in May when our neighborhood is still maintaining its tenuous peace, a loose balance between old and new, us and them,” we are informed in the book’s opening paragraph. “Later this summer when the funeral takes place, the media will speculate boldly on who’s to blame.” The exact nature of the tragedy that has been foretold and questions of blame come into focus gradually as a series of events is set inexorably in motion when the Whitmans’ cloistered 17-year-old daughter, Juniper, encounters Xavier. The two teenagers tumble into a furtive, pure-hearted romance even as Xavier’s mom and Juniper’s stepfather, Brad, a slick operator who runs a successful HVAC business and has secrets of his own, lock horns in a legal battle over a dying tree. As the novel builds toward its devastating climax, it nimbly negotiates issues of race and racism, class and gentrification, sex and sexual violence, environmental destruction and other highly charged topics. Fowler (A Well-Behaved Woman, 2018, etc.) empathetically conjures nuanced characters we won’t soon forget, expertly weaves together their stories, and imbues the plot with a sense of inevitability and urgency. In the end, she offers an opportunity for catharsis as well as a heartfelt, hopeful call to action.

Traversing topics of love, race, and class, this emotionally complex novel speaks to—and may reverberate beyond—our troubled times.

Pub Date: Feb. 4, 2020

ISBN: 978-1-250-23727-9

Page Count: 288

Publisher: St. Martin's

Review Posted Online: Oct. 1, 2019

Kirkus Reviews Issue: Oct. 15, 2019

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