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TO LEAVE A MEMORY

Compared with other grieving families in literature, the Wards don’t plumb the depths of their emotions, but they...

A wife reconsiders leaving her stagnant marriage when her husband suffers a stroke, and the family must band together despite long-harbored resentments.

It’s been 30 years since the Wards’ beloved son died in a car crash, but the grief has remained. Their communication stunted, their sex life gone, Lizzy Ward and her husband, Andrew, a retired professor, have whittled their marriage down to merely orbiting around each other. Even their daughter, Jane, now married with three kids and a busy schedule, notices her mother’s unhappiness. On the night Billy died, Andrew had given him permission to go out, despite a terrible storm and Lizzy’s premonition that something would happen; for this, Lizzy has never forgiven him. She confides in Ouisie, her best friend from church, about wanting to leave the painful marriage. But while working on his historical novel about the Wards’ ancestors, Andrew suffers a severe stroke. Lizzy then can’t imagine leaving him alone in the hospital, let alone walking out on their marriage. Andrew’s brother and sister are summoned, straining their already distant relationship as a family. There are often long flashbacks to Andrew’s childhood, showcasing his mean brother and kid sister. He begins to recover from the stroke, although his verbal dyspraxia has him spitting curse words and bumbling names. Lizzy, as his caretaker, warms to him again, and their relationship reblooms. Andrew returns to his novel, which is presented as a story within a story. He suffers another stroke, and Lizzy, Jane and others are prompted to bring forgiveness to the forefront of their family. From the opening chapters, the axis of the novel seems to be the loss of their son, but as the novel goes on, it seems that other experiences are influencing the characters. Readers never quite get to the heart of what ailed Andrew before his strokes; despite vivid flashbacks to his brother’s cruelty, it’s unclear why they’re part of the novel. Secondary characters play well alongside Lizzy and Andrew, evident in Jane’s flirtatious banter with her husband and Ouisie’s role as the giggling friend. There’s a pleasing amount of healthy talk about sex, although jokes of a sexual nature, and Andrew’s sailor mouth, are sometimes stale comic relief. Yet the colorful dialogue keeps the story moving, sidetracked occasionally by the extensive novel-within-a-novel and many childhood flashbacks. Forgiveness comes in moments sentimental but tender, and even Andrew’s poststroke syntax has a chance to shine.

Compared with other grieving families in literature, the Wards don’t plumb the depths of their emotions, but they nevertheless provide a warm portrait of a family coming together to forgive.

Pub Date: N/A

ISBN: N/A

Page Count: -

Publisher: Dog Ear Publisher

Review Posted Online: Nov. 12, 2015

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THE MOST FUN WE EVER HAD

Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...

Four Chicago sisters anchor a sharp, sly family story of feminine guile and guilt.

Newcomer Lombardo brews all seven deadly sins into a fun and brimming tale of an unapologetically bougie couple and their unruly daughters. In the opening scene, Liza Sorenson, daughter No. 3, flirts with a groomsman at her sister’s wedding. “There’s four of you?” he asked. “What’s that like?” Her retort: “It’s a vast hormonal hellscape. A marathon of instability and hair products.” Thus begins a story bristling with a particular kind of female intel. When Wendy, the oldest, sets her sights on a mate, she “made sure she left her mark throughout his house—soy milk in the fridge, box of tampons under the sink, surreptitious spritzes of her Bulgari musk on the sheets.” Turbulent Wendy is the novel’s best character, exuding a delectable bratty-ness. The parents—Marilyn, all pluck and busy optimism, and David, a genial family doctor—strike their offspring as impossibly happy. Lombardo levels this vision by interspersing chapters of the Sorenson parents’ early lean times with chapters about their daughters’ wobbly forays into adulthood. The central story unfurls over a single event-choked year, begun by Wendy, who unlatches a closed adoption and springs on her family the boy her stuffy married sister, Violet, gave away 15 years earlier. (The sisters improbably kept David and Marilyn clueless with a phony study-abroad scheme.) Into this churn, Lombardo adds cancer, infidelity, a heart attack, another unplanned pregnancy, a stillbirth, and an office crush for David. Meanwhile, youngest daughter Grace perpetrates a whopper, and “every day the lie was growing like mold, furring her judgment.” The writing here is silky, if occasionally overwrought. Still, the deft touches—a neighborhood fundraiser for a Little Free Library, a Twilight character as erotic touchstone—delight. The class calibrations are divine even as the utter apolitical whiteness of the Sorenson world becomes hard to fathom.

Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet another pleasurable tendril of sisterly malice uncurls.

Pub Date: June 25, 2019

ISBN: 978-0-385-54425-2

Page Count: 544

Publisher: Doubleday

Review Posted Online: March 3, 2019

Kirkus Reviews Issue: March 15, 2019

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THEN SHE WAS GONE

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

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