This labor of love pens a soft-edged portrait of a subject who struggles to grasp complexity.
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. 14, 2015
Kirkus Reviews Issue: Nov. 1, 2015
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
Jonathan Livingston Kitty, it’s not.
A lonely postman learns that he’s about to die—and reflects on life as he bargains with a Hawaiian-shirt–wearing devil.
The 30-year-old first-person narrator in filmmaker/novelist Kawamura’s slim novel is, by his own admission, “boring…a monotone guy,” so unimaginative that, when he learns he has a brain tumor, the bucket list he writes down is dull enough that “even the cat looked disgusted with me.” Luckily—or maybe not—a friendly devil, dubbed Aloha, pops onto the scene, and he’s willing to make a deal: an extra day of life in exchange for being allowed to remove something pleasant from the world. The first thing excised is phones, which goes well enough. (The narrator is pleasantly surprised to find that “people seemed to have no problem finding something to fill up their free time.”) But deals with the devil do have a way of getting complicated. This leads to shallow musings (“Sometimes, when you rewatch a film after not having seen it for a long time, it makes a totally different impression on you than it did the first time you saw it. Of course, the movie hasn’t changed; it’s you who’s changed") written in prose so awkward, it’s possibly satire (“Tears dripped down onto the letter like warm, salty drops of rain”). Even the postman’s beloved cat, who gains the power of speech, ends up being prim and annoying. The narrator ponders feelings about a lost love, his late mother, and his estranged father in a way that some readers might find moving at times. But for many, whatever made this book a bestseller in Japan is going to be lost in translation.
Jonathan Livingston Kitty, it’s not.Pub Date: March 12, 2019
ISBN: 978-1-250-29405-0
Page Count: 176
Publisher: Flatiron Books
Review Posted Online: Feb. 16, 2019
Kirkus Reviews Issue: March 1, 2019
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