A haunting, layered allegory.

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FALLEN LAND

The cataclysm at the root of Flanery’s (Absolution, 2012) second novel is an act of mob violence 100 years past.

Two men are lynched, one white, one black. The deed to the white man’s farm falls to the black man’s brother, Louise Washington’s ancestor. Louise was a teacher; her husband, Donald, farmed, but he was caught between high interest rates and low crop prices. Before he could recover, he died. Now, Louise, evicted by eminent domain, trespasses in her own home. Paul Krovik, an ambitious contractor, secured rights to build Dolores Woods, a McMansion development, on Louise’s land. Then the housing bubble burst, the development failed, and Paul was evicted from his model home while also losing his family. In this "dolorous forest of infinite sorrow," Paul lurks in his house’s secret basement shelter. From their lairs, these outliers watch Nathaniel and Julia and their boy, Copley, move into Krovik’s house. Julia is a research scientist. Nathaniel, reluctant to leave Boston, will be National Director of Offender Rehabilitation for EKK, once into security and incarceration management but now exerting massive influence in areas ranging from biotech to entertainment. Nathaniel and Julia are profession-centered and blind to reality, but Copley, "unfailingly polite, reserved, self-contained, all of his processes and emotions hidden," encounters Paul. No one believes Copley, but Paul, increasingly paranoid, soon surfaces to destroy more dreams than his own. In a literary effort far different from his accomplished debut, Flanery explores family and social mores, cataloging emotional damage tumbling from generation to generation, all woven into a metaphorical tale about the human cost of bubble economics, the undermining of personal freedoms in the name of homeland security and the ugly consequences of the privatization of public service. Characters and back stories are both authentic and chilling, as when EKK’s CEO declares "[p]rivate is now public, in the interests of security." In a novel both symbolic and philosophical, Flanery’s dark view of human ambition, weakness and complacency is both thoughtful and terrifying. 

A haunting, layered allegory.

Pub Date: Aug. 15, 2013

ISBN: 978-1-59463-180-1

Page Count: 416

Publisher: Riverhead

Review Posted Online: June 20, 2013

Kirkus Reviews Issue: July 1, 2013

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With humor and insight, Straub creates a family worth rooting for.

ALL ADULTS HERE

When Astrid Strick witnesses a school bus run over a longtime acquaintance of hers—Barbara Baker, a woman she doesn't like very much—it's only the beginning of the shake-ups to come in her life and the lives of those she loves.

Astrid has been tootling along contentedly in the Hudson Valley town of Clapham, New York, a 68-year-old widow with three grown children. After many years of singlehood since her husband died, she's been quietly seeing Birdie Gonzalez, her hairdresser, for the past two years, and after Barbara's death she determines to tell her children about the relationship: "There was no time to waste, not in this life. There were always more school buses." Elliot, her oldest, who's in real estate, lives in Clapham with his wife, Wendy, who's Chinese American, and their twins toddlers, Aidan and Zachary, who are "such hellions that only a fool would willingly ask for more." Astrid's daughter, Porter, owns a nearby farm producing artisanal goat cheese and has just gotten pregnant through a sperm bank while having an affair with her married high school boyfriend. Nicky, the youngest Strick, is disconcertingly famous for having appeared in an era-defining movie when he was younger and now lives in Brooklyn with his French wife, Juliette, and their daughter, Cecelia, who's being shipped up to live with Astrid for a while after her friend got mixed up with a pedophile she met online. As always, Straub (Modern Lovers, 2016, etc.) draws her characters warmly, making them appealing in their self-centeredness and generosity, their insecurity and hope. The cast is realistically diverse, though in most ways it's fairly superficial; the fact that Birdie is Latina or Porter's obstetrician is African American doesn't have much impact on the story or their characters. Cecelia's new friend, August, wants to make the transition to Robin; that storyline gets more attention, with the two middle schoolers supporting each other through challenging times. The Stricks worry about work, money, sex, and gossip; Straub has a sharp eye for her characters' foibles and the details of their liberal, upper-middle-class milieu.

With humor and insight, Straub creates a family worth rooting for.

Pub Date: May 5, 2020

ISBN: 978-1-59463-469-7

Page Count: 368

Publisher: Riverhead

Review Posted Online: Feb. 10, 2020

Kirkus Reviews Issue: March 1, 2020

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Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

THEN SHE WAS GONE

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. 6, 2018

Kirkus Reviews Issue: Feb. 15, 2018

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