A smart debut that feels rooted in the experiences of a generation and establishes McKenna as a gifted writer.
As a soon-to-be mom braces for major life changes, her best friend wrestles with a secret that could have enormous implications for the pregnancy.
This sparkling first novel focuses on the intertwined lives of three Londoners and their broader networks of friends and family, largely over the course of a single weekend in June 2019. Thirty-year-old art school graduate Maggie, her longtime boyfriend, Ed, and her best friend, Phil, have known each other since they were kids running around Basildon, a working-class town 40 minutes away by train; Ed’s mother and Phil’s parents are neighbors, and Phil’s older brother is Ed’s best friend. When Maggie tells Phil one Saturday that she’s pregnant and that she and Ed are moving back to Basildon to prepare for the baby, he doesn’t react the way she expects, but not for the reason she thinks. For Phil, the news rekindles a decade-old moral dilemma. Much as Phil has tried to put the past behind him, he knows something about Ed that Maggie doesn’t—a secret so big it could threaten Ed and Maggie’s relationship. With the impending addition of a baby to the mix, he feels more compelled than ever to reveal the truth. Concurrently, other problems arise in their peripheral social circle and beyond. Ed battles private demons. Phil’s older brother and Ed’s best friend, Callum, disappears. Phil and Callum’s mother, Rosaleen, is trying to figure out the best way to disclose her cancer diagnosis to Phil. Phil is sorting out his feelings for his housemate and hookup partner, Keith, who’s in an open relationship with another man, Louis. Things come to a head at a massive party held at Phil’s warehouse commune home on Saturday night in honor of the summer solstice. In another pair of hands, the compressed timeline and the size of the cast could have made for a disjointed reading experience, but McKenna toggles among the different characters and storylines with aplomb. What emerges is an empathetic portrait of millennials trying to build lives for themselves amid social, political, and ecological change.
A smart debut that feels rooted in the experiences of a generation and establishes McKenna as a gifted writer.Pub Date: July 16, 2024
ISBN: 9780063319974
Page Count: 352
Publisher: Mariner Books
Review Posted Online: May 17, 2024
Kirkus Reviews Issue: June 15, 2024
Uneven but fitfully amusing.
Betrayed by her husband, a severely depressed young woman gets drawn into the over-the-top festivities at a lavish wedding.
Phoebe Stone, who teaches English literature at a St. Louis college, is plotting her own demise. Her husband, Matt, has left her for another woman, and Phoebe is taking it hard. Indeed, she's determined just where and how she will end it all: at an oceanfront hotel in Newport, where she will lie on a king-sized canopy bed and take a bottle of her cat’s painkillers. At the hotel, Phoebe meets bride-to-be Lila, a headstrong rich girl presiding over her own extravagant six-day wedding celebration. Lila thought she had booked every room in the hotel, and learning of Phoebe's suicidal intentions, she forbids this stray guest from disrupting the nuptials: “No. You definitely can’t kill yourself. This is my wedding week.” After the punchy opening, a grim flashback to the meltdown of Phoebe's marriage temporarily darkens the mood, but things pick up when spoiled Lila interrupts Phoebe's preparations and sweeps her up in the wedding juggernaut. The slide from earnest drama to broad farce is somewhat jarring, but from this point on, Espach crafts an enjoyable—if overstuffed—comedy of manners. When the original maid of honor drops out, Phoebe is persuaded, against her better judgment, to take her place. There’s some fun to be had here: The wedding party—including groom-to-be Gary, a widower, and his 11-year-old daughter—takes surfing lessons; the women in the group have a session with a Sex Woman. But it all goes on too long, and the humor can seem forced, reaching a low point when someone has sex with the vintage wedding car (you don’t want to know the details). Later, when two characters have a meet-cute in a hot tub, readers will guess exactly how the marriage plot resolves.
Uneven but fitfully amusing.Pub Date: July 30, 2024
ISBN: 9781250899576
Page Count: 384
Publisher: Henry Holt
Review Posted Online: Sept. 13, 2024
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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