A nervy modern-day rebellion tale that isn’t afraid to get dark or find humor in the darkness.
A young New York woman figures there’s nothing wrong with existence that a fistful of prescriptions and months of napping wouldn’t fix.
Moshfegh’s prickly fourth book (Homesick for Another World, 2017, etc.) is narrated by an unnamed woman who’s decided to spend a year “hibernating.” She has a few conventional grief issues. (Her parents are both dead, and they’re much on her mind.) And if she’s not mentally ill, she’s certainly severely maladjusted socially. (She quits her job at an art gallery in obnoxious, scatological fashion.) But Moshfegh isn’t interested in grief or mental illness per se. Instead, she means to explore whether there are paths to living that don’t involve traditional (and wearying) habits of consumption, production, and relationships. To highlight that point, most of the people in the narrator's life are offbeat or provisional figures: Reva, her well-meaning but shallow former classmate; Trevor, a boyfriend who only pursues her when he’s on the rebound; and Dr. Tuttle, a wildly incompetent doctor who freely gives random pill samples and presses one drug, Infermiterol, that produces three-day blackouts. None of which is the stuff of comedy. But Moshfegh has a keen sense of everyday absurdities, a deadpan delivery, and such a well-honed sense of irony that the narrator’s predicament never feels tragic; this may be the finest existential novel not written by a French author. (Recovering from one blackout, the narrator thinks, “What had I done? Spent a spa day then gone out clubbing?...Had Reva convinced me to go ‘enjoy myself’ or something just as idiotic?”) Checking out of society the way the narrator does isn’t advisable, but there’s still a peculiar kind of uplift to the story in how it urges second-guessing the nature of our attachments while revealing how hard it is to break them.
A nervy modern-day rebellion tale that isn’t afraid to get dark or find humor in the darkness.Pub Date: July 10, 2018
ISBN: 978-0-525-52211-9
Page Count: 304
Publisher: Penguin Press
Review Posted Online: April 15, 2018
Kirkus Reviews Issue: May 1, 2018
A suspenseful story that examines how families haunt each other in life and death; possibly too creepy for late-night...
A college professor returns to his hometown and confronts figurative and literal demons from his childhood in this modern-day ghost story.
The novel opens as Will Conner attends a faculty-student mixer in Manhattan and talks with his teaching assistant, Beth, about the return of some disturbing dreams he’s been having. The dreams contain flashbacks to a confusing night from his youth when his mother hosted a “spirit circle” in their home. Beth tries, unsuccessfully, to help Will understand the dreams. As Will walks home after the event, he receives a visit from an unearthly being, a demon or spirit, perhaps a hallucination, he’s not sure. He hurries the rest of the way to his apartment, where he is greeted by a ringing telephone and the news that his mother is in the hospital, unconscious. Will returns to his small New England hometown to care for his mother, who suffered a head injury. During his visit, he reconnects with a long list of characters from his childhood and tries to determine what happened on that fateful night from his youth that continues to haunt his dreams. Will begins to detect secrets about the people he grew up with and how those secrets may have impacted his own life. Yet, every time he moves closer to discovering the central mystery, another obstacle materializes to thwart his efforts and make him question his path. Written in a fast-paced, colloquial prose, the text will pull readers in right from the start. Drawing on New England’s historical connection to witchcraft and mob hysteria, the author brings to life contemporary covens and small-town reactions to the unexplainable. Despite the novel’s heavy emphasis on flashbacks and retelling of family folklore, which can feel overly convoluted, the author creates nuanced and realistic interpersonal relationships that lend much-needed grounding to this darkly supernatural story. Equal parts engaging and creepy, this twisty tale deftly examines how secrets and regret can continue to reverberate through generations.
A suspenseful story that examines how families haunt each other in life and death; possibly too creepy for late-night reading.Pub Date: Oct. 8, 2019
ISBN: 978-1-335-21755-4
Page Count: 320
Publisher: Hanover Square Press
Review Posted Online: July 14, 2019
Kirkus Reviews Issue: Aug. 1, 2019
BOOK REVIEW
BOOK REVIEW
After she sets up a world in which racism thoroughly defines every aspect of character and plot, Picoult's conclusion occurs...
In Picoult’s (Leaving Time, 2014, etc.) latest novel, Ruth Jefferson, a labor and delivery nurse, struggles to survive claims of murdering a patient while keeping her own family intact.
Picoult has made a name for herself crafting novels of depth and insight, peopled with rich characters and relationships. Here, she explores the intersection of racial bias, medicine, and the law. African-American Ruth Jefferson has been a labor and delivery nurse for more than 20 years, and she's the kind of professional every patient dreams of: she genuinely cares for her patients and takes joy in seeking out ways she can help them—whether it be a back rub or an epidural. But Ruth is completely thrown when a newborn baby’s parents, both white supremacists, demand that she be removed from their care team because they don't want a black person touching their child. In a moment of deliberate plot maneuvering, Ruth is left as the sole nurse on the child’s floor, and the baby goes into cardiac arrest and dies. Ruth, accused of hesitating before performing CPR, is charged with murder. There's no question that Picoult is a talented writer. The plot is suspenseful, the structure and pacing exquisite. But there is also no question that writing a story from the perspective of a black woman requires more racial consciousness than she displays here. At times the plot feels more like an intellectual exercise to understand racism than an organic exploration of a real person's life. The voice is that of a nonblack person discovering all at once that racism exists rather than that of a black person who has lived with racism her whole life. Picoult has drawn upon every black stereotype available: here is the black single mother, the angry black woman, the mammy, the maid, the teenage "thug," the exceptional token, and the grandstanding preacher. Alternating among the points of view of Ruth; the white supremacist father, Turk Bauer; and Ruth’s lawyer, Kennedy McQuarrie, Picoult is at her best when she lets the novel solidify into Kennedy’s narrative, the tale of a white woman who thinks she's more liberal than she actually is. It's Kennedy's journey of coming to terms with her own racist relatives and white privilege, as she realizes, for the first time, the pervasiveness of American racism, that is the real story here—and the novel would have been stronger if it had been written from this perspective throughout.
After she sets up a world in which racism thoroughly defines every aspect of character and plot, Picoult's conclusion occurs in a separate fairy-tale world where racism suddenly does not exist, resulting in a rather juvenile portrayal of racial politics in America.Pub Date: Oct. 11, 2016
ISBN: 978-0-345-54495-7
Page Count: 480
Publisher: Ballantine
Review Posted Online: July 18, 2016
Kirkus Reviews Issue: Aug. 1, 2016
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