Honest, tender, and exquisitely crafted. A novel to savor.

FORTY ROOMS

The award-winning author of The Dream Life of Sukhanov (2006) and The Line (2010) contemplates the tension between art and domesticity.

A little girl walks into a bedroom to find a mermaid sorting through her mother’s jewelry. The mermaid knows the story of every bauble: these earrings were a gift from the czar’s uncle to the girl’s great-grandmother, a ballerina; that uncut emerald was prised from an icon during the revolution and purchased by the girl’s grandfather for a “length of smoked sausage and a box of German sweets.” In the cramped kitchen of her family’s Moscow apartment, this same girl is secretly reading forbidden verse when she meets an angel—or is he a god? “Do you want to be immortal?” he asks her. She says, “Yes.” The exhilarating opening chapters of Grushin’s latest novel are narrated by an unnamed heroine who can see through mundane reality—beneath it, beyond it—into other worlds. She is a poet. Scornful of the ordinary life her parents imagine for her, she travels from Russia to the United States. There, she experiences doomed love and the romance of suffering for one’s art. But—moment by moment, choice by choice—her commitment to immortality recedes until the passionate young poet telling her story disappears and re-emerges as “she,” a character observed from a distance, a woman who will soon come to be known as “Mrs. Caldwell.” It’s taken as a given that an upper-middle-class wife and mother cannot be an artist. There is magic, even in the suburbs; it’s just that Mrs. Caldwell can’t see it. But, at the same time, Grushin is too sly to be bound by cliché. If Mrs. Caldwell fails to be true to herself—and that “if” is sincere—this is because there are real questions about who that true self is. These are questions that women, especially, will recognize.

Honest, tender, and exquisitely crafted. A novel to savor.

Pub Date: Feb. 16, 2016

ISBN: 978-1-101-98233-4

Page Count: 352

Publisher: Marian Wood/Putnam

Review Posted Online: Nov. 17, 2015

Kirkus Reviews Issue: Dec. 1, 2015

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Despite some distractions, there’s an irresistible charm to Owens’ first foray into nature-infused romantic fiction.

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WHERE THE CRAWDADS SING

A wild child’s isolated, dirt-poor upbringing in a Southern coastal wilderness fails to shield her from heartbreak or an accusation of murder.

“The Marsh Girl,” “swamp trash”—Catherine “Kya” Clark is a figure of mystery and prejudice in the remote North Carolina coastal community of Barkley Cove in the 1950s and '60s. Abandoned by a mother no longer able to endure her drunken husband’s beatings and then by her four siblings, Kya grows up in the careless, sometimes-savage company of her father, who eventually disappears, too. Alone, virtually or actually, from age 6, Kya learns both to be self-sufficient and to find solace and company in her fertile natural surroundings. Owens (Secrets of the Savanna, 2006, etc.), the accomplished co-author of several nonfiction books on wildlife, is at her best reflecting Kya’s fascination with the birds, insects, dappled light, and shifting tides of the marshes. The girl’s collections of shells and feathers, her communion with the gulls, her exploration of the wetlands are evoked in lyrical phrasing which only occasionally tips into excess. But as the child turns teenager and is befriended by local boy Tate Walker, who teaches her to read, the novel settles into a less magical, more predictable pattern. Interspersed with Kya’s coming-of-age is the 1969 murder investigation arising from the discovery of a man’s body in the marsh. The victim is Chase Andrews, “star quarterback and town hot shot,” who was once Kya’s lover. In the eyes of a pair of semicomic local police officers, Kya will eventually become the chief suspect and must stand trial. By now the novel’s weaknesses have become apparent: the monochromatic characterization (good boy Tate, bad boy Chase) and implausibilities (Kya evolves into a polymath—a published writer, artist, and poet), yet the closing twist is perhaps its most memorable oddity.

Despite some distractions, there’s an irresistible charm to Owens’ first foray into nature-infused romantic fiction.

Pub Date: Aug. 14, 2018

ISBN: 978-0-7352-1909-0

Page Count: 384

Publisher: Putnam

Review Posted Online: May 15, 2018

Kirkus Reviews Issue: June 1, 2018

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A magnificent achievement: a novel that is, by turns, both optimistic and fatalistic, idealistic without being naïve.

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THE OVERSTORY

Powers’ (Orfeo, 2014, etc.) 12th novel is a masterpiece of operatic proportions, involving nine central characters and more than half a century of American life.

In this work, Powers takes on the subject of nature, or our relationship to nature, as filtered through the lens of environmental activism, although at its heart the book is after more existential concerns. As is the case with much of Powers’ fiction, it takes shape slowly—first in a pastiche of narratives establishing the characters (a psychologist, an undergraduate who died briefly but was revived, a paraplegic computer game designer, a homeless vet), and then in the kaleidoscopic ways these individuals come together and break apart. “We all travel the Milky Way together, trees and men,” Powers writes, quoting the naturalist John Muir. “In every walk with nature one receives far more than he seeks.” The idea is important because what Powers means to explore is a sense of how we become who we are, individually and collectively, and our responsibility to the planet and to ourselves. Nick, for instance, continues a project begun by his grandfather to take repeated photographs of a single chestnut tree, “one a month for seventy-six years.” Pat, a visionary botanist, discovers how trees communicate with one another only to be discredited and then, a generation later, reaffirmed. What links the characters is survival—the survival of both trees and human beings. The bulk of the action unfolds during the timber wars of the late 1990s, as the characters coalesce on the Pacific coast to save old-growth sequoia from logging concerns. For Powers, however, political or environmental activism becomes a filter through which to consider the connectedness of all things—not only the human lives he portrays in often painfully intricate dimensions, but also the biosphere, both virtual and natural. “The world starts here,” Powers insists. “This is the merest beginning. Life can do anything. You have no idea.”

A magnificent achievement: a novel that is, by turns, both optimistic and fatalistic, idealistic without being naïve.

Pub Date: April 3, 2018

ISBN: 978-0-393-63552-2

Page Count: 512

Publisher: Norton

Review Posted Online: Jan. 23, 2018

Kirkus Reviews Issue: Feb. 1, 2018

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