This labor of love pens a soft-edged portrait of a subject who struggles to grasp complexity.

PIECE OF MIND

A wayward woman with little executive function tries to wrest back control of her life.

The classic advice to write what you know guides many a debut, often to fine effect. Adelman’s first novel is a tender example of this tenet—in the acknowledgments, she offers a tribute to her sister, “whose brain helped inspire Lucy’s.” And her heroine’s brain, damaged in an early childhood car accident, is a marvel: Lucy describes it as “a pinball machine lit up with pockets of potential.” When we meet her, that potential has lain dormant for a while. Coddled by a well-intentioned dad who leaves her a to-do list every morning that includes showering and dressing, Lucy spends her days drinking coffee and trying not to leave the house. Daily tasks and interactions flummox her, but she finds a safe haven in her sketchbook and passing glimpses of her mother, who died many years earlier. This haven implodes when Lucy’s father has a sudden heart attack: her absent younger brother, Nate (a polished 21-year-old who “didn’t have an awkward phase”), swoops in from college, sets her up in his tiny New York apartment, and kicks off the rest of their story. Plenty of plot follows, and minor characters traipse in and out, but none of that is the reason to read Adelman’s book. Lean in instead for the relationship between brother and sister, for its evolution as Lucy builds the strength and willingness both to take care of herself and to recognize and accept Nate’s shortcomings. The chronicle of this incremental shift is peppered with her drawings of people and animals—all done by the author’s sister—which play no small role in making Lucy’s often hazy perspective feel sharply real.

This labor of love pens a soft-edged portrait of a subject who struggles to grasp complexity.

Pub Date: Feb. 8, 2016

ISBN: 978-0-393-24570-7

Page Count: 304

Publisher: Norton

Review Posted Online: Oct. 15, 2015

Kirkus Reviews Issue: Nov. 1, 2015

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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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ANIMAL FARM

A FAIRY STORY

A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.

Pub Date: Aug. 26, 1946

ISBN: 0452277507

Page Count: 114

Publisher: Harcourt, Brace

Review Posted Online: Nov. 2, 2011

Kirkus Reviews Issue: Aug. 1, 1946

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