A meandering take on the repercussions of life in a fascinating era.
Ludington’s lushly descriptive and assured second novel ranges from California’s late-1960s counterculture to the pre-Covid-19 near present.
In 2017, two survivors of the ’60s, both veterans of prison stints, coexist uneasily in separate houses willed to them by a mutual friend on an estate in Beverly Hills. Pensive Daniel, 68, is best known for creating—and then blowing up—the elaborate art installation in the desert that gives the novel its title, though more recently, he has been working as a high school English teacher. Enigmatic, alcoholic Jack, 77, is supposed to be caring for his cherubic 6-year-old grandson, Dean, while Dean’s actress mother, Celia, “fresh out of rehab number two,” is off filming a movie, but Jack is so often distracted that the unsupervised Dean frequently wanders off to hang out with Daniel. As the novel fills in their backstories, it becomes clear that the lives of both men were shaped by visits to a Northern California commune, encounters with a cult leader, experiences with LSD, and a significant Grateful Dead concert, as well as by the death of a woman important to them both. The most affecting chapters deal with Daniel’s slow transformation and his recovery from tragedy through the creation of art, which is described in meticulous detail. But Ludington’s tendency to spend long stretches developing secondary characters—such as Daniel’s artist son or the multiple drug dealers Jack gets to know—only to drop them precipitously, slows the momentum of the novel, as does the grating reiteration of the sense of impending disaster experienced by nearly all the characters: Celia, for example, feels “a monolithic fear located behind her sternum” and “radioactive dread.” A rushed, violent, and confusing ending throws the otherwise meditative novel off-kilter, without resolving the many questions it raises.
A meandering take on the repercussions of life in a fascinating era.Pub Date: April 16, 2024
ISBN: 9781250288714
Page Count: 400
Publisher: St. Martin's
Review Posted Online: Feb. 17, 2024
Kirkus Reviews Issue: March 15, 2024
BOOK REVIEW
A dramatic, vividly detailed reconstruction of a little-known aspect of the Vietnam War.
A young woman’s experience as a nurse in Vietnam casts a deep shadow over her life.
When we learn that the farewell party in the opening scene is for Frances “Frankie” McGrath’s older brother—“a golden boy, a wild child who could make the hardest heart soften”—who is leaving to serve in Vietnam in 1966, we feel pretty certain that poor Finley McGrath is marked for death. Still, it’s a surprise when the fateful doorbell rings less than 20 pages later. His death inspires his sister to enlist as an Army nurse, and this turn of events is just the beginning of a roller coaster of a plot that’s impressive and engrossing if at times a bit formulaic. Hannah renders the experiences of the young women who served in Vietnam in all-encompassing detail. The first half of the book, set in gore-drenched hospital wards, mildewed dorm rooms, and boozy officers’ clubs, is an exciting read, tracking the transformation of virginal, uptight Frankie into a crack surgical nurse and woman of the world. Her tensely platonic romance with a married surgeon ends when his broken, unbreathing body is airlifted out by helicopter; she throws her pent-up passion into a wild affair with a soldier who happens to be her dead brother’s best friend. In the second part of the book, after the war, Frankie seems to experience every possible bad break. A drawback of the story is that none of the secondary characters in her life are fully three-dimensional: Her dismissive, chauvinistic father and tight-lipped, pill-popping mother, her fellow nurses, and her various love interests are more plot devices than people. You’ll wish you could have gone to Vegas and placed a bet on the ending—while it’s against all the odds, you’ll see it coming from a mile away.
A dramatic, vividly detailed reconstruction of a little-known aspect of the Vietnam War.Pub Date: Feb. 6, 2024
ISBN: 9781250178633
Page Count: 480
Publisher: St. Martin's
Review Posted Online: Nov. 4, 2023
Kirkus Reviews Issue: Dec. 1, 2023
PERSPECTIVES
BOOK TO SCREEN
SEEN & HEARD
Through palpable tension balanced with glimmers of hope, Hoover beautifully captures the heartbreak and joy of starting over.
The sequel to It Ends With Us (2016) shows the aftermath of domestic violence through the eyes of a single mother.
Lily Bloom is still running a flower shop; her abusive ex-husband, Ryle Kincaid, is still a surgeon. But now they’re co-parenting a daughter, Emerson, who's almost a year old. Lily won’t send Emerson to her father’s house overnight until she’s old enough to talk—“So she can tell me if something happens”—but she doesn’t want to fight for full custody lest it become an expensive legal drama or, worse, a physical fight. When Lily runs into Atlas Corrigan, a childhood friend who also came from an abusive family, she hopes their friendship can blossom into love. (For new readers, their history unfolds in heartfelt diary entries that Lily addresses to Finding Nemo star Ellen DeGeneres as she considers how Atlas was a calming presence during her turbulent childhood.) Atlas, who is single and running a restaurant, feels the same way. But even though she’s divorced, Lily isn’t exactly free. Behind Ryle’s veneer of civility are his jealousy and resentment. Lily has to plan her dates carefully to avoid a confrontation. Meanwhile, Atlas’ mother returns with shocking news. In between, Lily and Atlas steal away for romantic moments that are even sweeter for their authenticity as Lily struggles with child care, breastfeeding, and running a business while trying to find time for herself.
Through palpable tension balanced with glimmers of hope, Hoover beautifully captures the heartbreak and joy of starting over.Pub Date: Oct. 18, 2022
ISBN: 978-1-668-00122-6
Page Count: 352
Publisher: Atria
Review Posted Online: July 26, 2022
Kirkus Reviews Issue: Aug. 15, 2022
SEEN & HEARD
SEEN & HEARD
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