An engaging portrait of an artist swaddled in overused cloth.

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ZOIA’S GOLD

Sington, who’s written six thrillers under the name Patrick Lynch (Figure of Eight, 2000, etc.), explores the shadowy life of a Russian painter for this (slightly) more literary excursion.

The story of Zoia Korvin-Krukovsky—aka Madame Zoia—provides tremendous fodder for a novel: Born in Russia in 1903 to an aristocratic family, she was imprisoned by the Bolsheviks during the revolution, later became an artist who studied under the likes of Vassily Kandinsky, and hung out with the Left Bank crowd in Paris. She married twice, broke hearts often and eventually settled in Sweden, where she specialized in painting on gold leaf; she hewed to that technique until she died in 1999, creating images that are both seductive and, as Sington would have it, springboards for international intrigue. Using Madame Zoia’s correspondence as a narrative skeleton, the author builds his story around Marcus Elliott, a disgraced art dealer who gets a second chance in the trade, thanks to an offer to write a study of Zoia’s work for the program of an upcoming auction. Imagining Zoia’s life in flashbacks, Sington sympathetically evokes the turning points in her life, especially her years in Paris and North Africa in the late ’20s, when she balanced her artistic ambitions, an increasingly disapproving husband and an affair with a young fellow artist. Zoia emerges as a vibrant yet emotionally burdened soul, but the other characters lack such layers; a subplot involving Elliott’s wife and child exists mainly to ratchet up the tension of the plot, which involves a false will, manipulation of facts and general dastardliness on the part of the greater art world. An intrepid, young, attractive female reporter who’s privy to the truth about Madame Zoia arrives on the scene, and soon enough, the artful finery vaporizes, leaving behind a smart, fast-paced, but ultimately clichéd tale whose familiarity weakens its climactic revelations.

An engaging portrait of an artist swaddled in overused cloth.

Pub Date: Nov. 21, 2006

ISBN: 0-7432-9110-7

Page Count: 400

Publisher: Scribner

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Aug. 1, 2006

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Absolutely enthralling. Read it.

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NORMAL PEOPLE

A young Irish couple gets together, splits up, gets together, splits up—sorry, can't tell you how it ends!

Irish writer Rooney has made a trans-Atlantic splash since publishing her first novel, Conversations With Friends, in 2017. Her second has already won the Costa Novel Award, among other honors, since it was published in Ireland and Britain last year. In outline it's a simple story, but Rooney tells it with bravura intelligence, wit, and delicacy. Connell Waldron and Marianne Sheridan are classmates in the small Irish town of Carricklea, where his mother works for her family as a cleaner. It's 2011, after the financial crisis, which hovers around the edges of the book like a ghost. Connell is popular in school, good at soccer, and nice; Marianne is strange and friendless. They're the smartest kids in their class, and they forge an intimacy when Connell picks his mother up from Marianne's house. Soon they're having sex, but Connell doesn't want anyone to know and Marianne doesn't mind; either she really doesn't care, or it's all she thinks she deserves. Or both. Though one time when she's forced into a social situation with some of their classmates, she briefly fantasizes about what would happen if she revealed their connection: "How much terrifying and bewildering status would accrue to her in this one moment, how destabilising it would be, how destructive." When they both move to Dublin for Trinity College, their positions are swapped: Marianne now seems electric and in-demand while Connell feels adrift in this unfamiliar environment. Rooney's genius lies in her ability to track her characters' subtle shifts in power, both within themselves and in relation to each other, and the ways they do and don't know each other; they both feel most like themselves when they're together, but they still have disastrous failures of communication. "Sorry about last night," Marianne says to Connell in February 2012. Then Rooney elaborates: "She tries to pronounce this in a way that communicates several things: apology, painful embarrassment, some additional pained embarrassment that serves to ironise and dilute the painful kind, a sense that she knows she will be forgiven or is already, a desire not to 'make a big deal.' " Then: "Forget about it, he says." Rooney precisely articulates everything that's going on below the surface; there's humor and insight here as well as the pleasure of getting to know two prickly, complicated people as they try to figure out who they are and who they want to become.

Absolutely enthralling. Read it.

Pub Date: April 16, 2019

ISBN: 978-1-984-82217-8

Page Count: 288

Publisher: Hogarth/Crown

Review Posted Online: Feb. 18, 2019

Kirkus Reviews Issue: March 1, 2019

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Charming, challenging, and so interesting you can hardly put it down.

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SUCH A FUN AGE

The relationship between a privileged White mom and her Black babysitter is strained by race-related complications.

Blogger/role model/inspirational speaker Alix Chamberlain is none too happy about moving from Manhattan to Philadelphia for her husband Peter's job as a TV newscaster. With no friends or in-laws around to help out with her almost-3-year-old, Briar, and infant, Catherine, she’ll never get anywhere on the book she’s writing unless she hires a sitter. She strikes gold when she finds Emira Tucker. Twenty-five-year-old Emira’s family and friends expect her to get going on a career, but outside the fact that she’s about to get kicked off her parents’ health insurance, she’s happy with her part-time gigs—and Briar is her "favorite little human." Then one day a double-header of racist events topples the apple cart—Emira is stopped by a security guard who thinks she's kidnapped Briar, and when Peter's program shows a segment on the unusual ways teenagers ask their dates to the prom, he blurts out "Let's hope that last one asked her father first" about a Black boy hoping to go with a White girl. Alix’s combination of awkwardness and obsession with regard to Emira spins out of control and then is complicated by the reappearance of someone from her past (coincidence alert), where lies yet another racist event. Reid’s debut sparkles with sharp observations and perfect details—food, décor, clothes, social media, etc.—and she’s a dialogue genius, effortlessly incorporating toddler-ese, witty boyfriend–speak, and African American Vernacular English. For about two-thirds of the book, her evenhandedness with her varied cast of characters is impressive, but there’s a point at which any possible empathy for Alix disappears. Not only is she shallow, entitled, unknowingly racist, and a bad mother, but she has not progressed one millimeter since high school, and even then she was worse than we thought. Maybe this was intentional, but it does make things—ha ha—very black and white.

Charming, challenging, and so interesting you can hardly put it down.

Pub Date: Jan. 7, 2020

ISBN: 978-0-525-54190-5

Page Count: 320

Publisher: Putnam

Review Posted Online: Oct. 14, 2019

Kirkus Reviews Issue: Nov. 1, 2019

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