Not entirely to contemporary tastes but a valuable addition to modernist European literature.

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AGATHE, OR THE FORGOTTEN SISTER

A reconstructed novel that brings a “forgotten sister” to play in a winding narrative.

Now considered a classic of early-20th-century literature, Musil’s The Man Without Qualities (1943) presents a neurasthenic fellow who lives entirely too much inside his own head, a mathematician who is indifferent to bourgeois life but partakes of it all the same. At the start of the present novel, Frankensteined from chapters of the former and bits of the thousands of pages of manuscript Musil left behind, Ulrich is disembarking from a train: “Drops of the general conversation that had seeped into him during the trip were now draining away,” and now, preparing for the funeral of his father—who has helpfully sent notice of his own impending death—he’s left to his own musings. There’s plenty to think about: His long-lost younger sister, Agathe, widowed and remarried, is in town for the occasion, and she announces that she’s leaving her husband, a bore of a pedagogue. “Let him sue!” she says brightly, whereupon Ulrich is moved to remark, in his otherworldly way, “inner oblivion is more loathsome than anything.” In time, Agathe has moved in with Ulrich, and the relationship becomes—well, let’s just say there are universal strictures governing their behavior, which, though more cerebral than physical, in fact does have something of the physical to it “that with great tenderness paralyzed their limbs and at the same time enchanted them with an indescribable sensitivity.” This is very much a European sort of tale, reminiscent of Goethe here and Pessoa there, without much in the way of action but very long on talk—talk of love here, of misunderstanding and grief there: “Someone who talks a lot," says Ulrich, “discharges another person’s grief drop by drop, the way rain discharges the electricity in a cloud.” That, or the chatterbox numbs the listener, which happens from time to time even as Musil carefully structures his twisting, unexpected storyline.

Not entirely to contemporary tastes but a valuable addition to modernist European literature.

Pub Date: Dec. 3, 2019

ISBN: 978-1-68137-383-6

Page Count: 464

Publisher: New York Review Books

Review Posted Online: Sept. 13, 2019

Kirkus Reviews Issue: Oct. 1, 2019

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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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With her second novel, Ng further proves she’s a sensitive, insightful writer with a striking ability to illuminate life in...

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LITTLE FIRES EVERYWHERE

This incandescent portrait of suburbia and family, creativity, and consumerism burns bright.

It’s not for nothing that Ng (Everything I Never Told You, 2014) begins her second novel, about the events leading to the burning of the home of an outwardly perfect-seeming family in Shaker Heights, Ohio, circa 1997, with two epigraphs about the planned community itself—attesting to its ability to provide its residents with “protection forever against…unwelcome change” and “a rather happy life” in Utopia. But unwelcome change is precisely what disrupts the Richardson family’s rather happy life, when Mia, a charismatic, somewhat mysterious artist, and her smart, shy 15-year-old daughter, Pearl, move to town and become tenants in a rental house Mrs. Richardson inherited from her parents. Mia and Pearl live a markedly different life from the Richardsons, an affluent couple and their four high school–age children—making art instead of money (apart from what little they need to get by); rooted in each other rather than a particular place (packing up what fits in their battered VW and moving on when “the bug” hits); and assembling a hodgepodge home from creatively repurposed, scavenged castoffs and love rather than gathering around them the symbols of a successful life in the American suburbs (a big house, a large family, gleaming appliances, chic clothes, many cars). What really sets Mia and Pearl apart and sets in motion the events leading to the “little fires everywhere” that will consume the Richardsons’ secure, stable world, however, is the way they hew to their own rules. In a place like Shaker Heights, a town built on plans and rules, and for a family like the Richardsons, who have structured their lives according to them, disdain for conformity acts as an accelerant, setting fire to the dormant sparks within them. The ultimate effect is cataclysmic. As in Everything I Never Told You, Ng conjures a sense of place and displacement and shows a remarkable ability to see—and reveal—a story from different perspectives. The characters she creates here are wonderfully appealing, and watching their paths connect—like little trails of flame leading inexorably toward one another to create a big inferno—is mesmerizing, casting into new light ideas about creativity and consumerism, parenthood and privilege.

With her second novel, Ng further proves she’s a sensitive, insightful writer with a striking ability to illuminate life in America.

Pub Date: Sept. 12, 2017

ISBN: 978-0-7352-2429-2

Page Count: 384

Publisher: Penguin Press

Review Posted Online: June 20, 2017

Kirkus Reviews Issue: July 1, 2017

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