MORE THAN YOU KNOW

Two sets of brothers and sisters negotiate the post–World War II London reconstruction boom.

Vincenzi’s latest investigation of British class unrest (Another Woman, 2012, etc.) begins with a country house. Entailed by a family trust, Summercourt cannot be sold by its owners, impoverished aristocrats Sarah and Adrian Fullerton-Clark. Son and heir Charles, a fledgling stockbroker, is in no position to help financially. With no repair budget, Summercourt is sliding into ruin. Sarah and Adrian pin their hopes on daughter Eliza’s marriage prospects—Jeremy, an ad exec worth a fortune, is smitten with her. Eliza, editor of a trendy style mag, finds her job all-absorbing as London fashion captivates the world, and bland Jeremy bores her. But she experiences immediate sexual frisson with Charles’ former army buddy Matt, a self-starting real-estate entrepreneur. An unplanned pregnancy forces the issue and the two are wed, much to Sarah’s chagrin over the groom’s working-class antecedents. Matt’s sister Scarlett, an airline hostess, has her own romantic troubles. Her lover, a married American, David, claims he’s about to divorce, but now his wife, Gaby, is pregnant. Scarlett, outraged because she had to abort her child by David, blackmails him into giving her seed money to start a travel business. While in Greece scouting a small hotel, she meets Mark Frost, a painfully shy travel writer with very appealing grey eyes. Eliza is chafing at the restrictions imposed on her by marriage and motherhood—Matt insists that she give up her job just as Twiggy and Carnaby Street are revolutionizing everything. Charles’ marriage to middle class upstart Juliet has proven disastrous—she’s spending all the money she erroneously (based on Summercourt) married him for, and he’s reduced to borrowing from her father. A few more developments, and the stage is set for the tamped-down hysteria that Vincenzi finesses so well. An intriguing glimpse at British life at the outset of the turbulent 1960s.

 

Pub Date: April 10, 2012

ISBN: 978-0-385-52825-2

Page Count: 608

Publisher: Doubleday

Review Posted Online: March 5, 2012

Kirkus Reviews Issue: March 15, 2012

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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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Why you double-crossing little double crossers! Fiendishly clever.

PRETTY THINGS

The daughter of a grifter plans to fund her mother’s cancer treatment with a revenge con.

Rich people suck, don’t they? Nina Ross found this out in her adolescence, when her romance with Benny Liebling was broken up by his status-obsessed, old-money father, who found them screwing in the guest cottage of the family’s Lake Tahoe estate. Back then, Nina had a future—but she’s since followed her con-artist mother into the family business with the help of a handsome blue-eyed Irish confederate named Lachlan. “Here’s my rule,” Nina tells him. “Only people who have too much, and only people who deserve it.” Of course, he agrees. “We take only what we need.” With her art history background, Nina is usually able to target a few expensive antiques they can lift without the rich dopes even noticing they’re gone. But now that Nina's mother is hovering at death’s door without health insurance, she’s going after the $1 million in cash Benny mentioned was in his father’s safe all those years ago. So back to Lake Tahoe it is. The older Lieblings are dead, and Benny’s in the bin, so it’s his sister Vanessa Liebling who is the target of the complicated caper. Vanessa is a terribly annoying character—“I couldn’t tell you how I went from a few dozen Instagram followers to a half-million. One day, you’re uploading photos of your dog wearing sunglasses; and the next you’re begin flown to Coachella on a private jet with four other social media It Girls…”—but, in fact, you’ll hate everyone in this book. That is surely Brown’s (Watch Me Disappear, 2017, etc.) intention as she’s the one making them natter on this way. She also makes them vomit much more than is normal, whether it’s because they’re poisoning each other or because they’re just so horrified by each other’s behavior. Definitely stay to see how it all turns out.

Why you double-crossing little double crossers! Fiendishly clever.

Pub Date: April 21, 2020

ISBN: 978-0-525-47912-3

Page Count: 496

Publisher: Random House

Review Posted Online: Jan. 13, 2020

Kirkus Reviews Issue: Feb. 1, 2020

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