A beautiful and gut-wrenching exploration of a woman defining herself after a monumental loss.

LET ME BE LIKE WATER

A young woman moves to the Brighton seaside to cope with her boyfriend's death in Perry’s debut novel.

Holly is a 20-something musician reeling from the sudden death of her longtime boyfriend, Sam. Unable to stay in London, surrounded by the remnants of happy memories, she abruptly packs up and moves to Brighton, where she proceeds to spend a lot of time staring at the sea. While doing so she meets Frank, a retired magician with a habit of collecting broken people and who has dealt with a loss himself. Joining Frank at his next book club meeting, Holly is introduced to a new social circle filled with people who either understand her pain or empathize with it as they deal with their own issues, from loss of a child to eating disorders. As she grows closer to her new group of friends, she finds the space to begin to deal with her feelings about losing Sam and explore the possibilities of her new life in Brighton. Perry’s last book was a poetry collection (Curious Hands: 24 Hours in Soho, 2015), which comes as no surprise, as the novel is told in a lyrical first-person that wrenches deep within Holly to connect with the reader. Short vignettes jump around from the present to memories of times past as Holly gets herself through, one day at a time. Though there is some discussion of the other characters’ difficulties (racism, body image issues, homophobia), ultimately this is Holly’s story, told from Holly’s point of view, so they are only briefly touched upon. At only a little more than 200 pages, this is a quick read but by no means a light one, each sentence carefully crafted and full of emotion.

A beautiful and gut-wrenching exploration of a woman defining herself after a monumental loss.

Pub Date: Aug. 14, 2018

ISBN: 978-1-61219-726-5

Page Count: 224

Publisher: Melville House

Review Posted Online: May 15, 2018

Kirkus Reviews Issue: June 1, 2018

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Doerr captures the sights and sounds of wartime and focuses, refreshingly, on the innate goodness of his major characters.

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  • Pulitzer Prize Winner

  • National Book Award Finalist

ALL THE LIGHT WE CANNOT SEE

Doerr presents us with two intricate stories, both of which take place during World War II; late in the novel, inevitably, they intersect.

In August 1944, Marie-Laure LeBlanc is a blind 16-year-old living in the walled port city of Saint-Malo in Brittany and hoping to escape the effects of Allied bombing. D-Day took place two months earlier, and Cherbourg, Caen and Rennes have already been liberated. She’s taken refuge in this city with her great-uncle Etienne, at first a fairly frightening figure to her. Marie-Laure’s father was a locksmith and craftsman who made scale models of cities that Marie-Laure studied so she could travel around on her own. He also crafted clever and intricate boxes, within which treasures could be hidden. Parallel to the story of Marie-Laure we meet Werner and Jutta Pfennig, a brother and sister, both orphans who have been raised in the Children’s House outside Essen, in Germany. Through flashbacks we learn that Werner had been a curious and bright child who developed an obsession with radio transmitters and receivers, both in their infancies during this period. Eventually, Werner goes to a select technical school and then, at 18, into the Wehrmacht, where his technical aptitudes are recognized and he’s put on a team trying to track down illegal radio transmissions. Etienne and Marie-Laure are responsible for some of these transmissions, but Werner is intrigued since what she’s broadcasting is innocent—she shares her passion for Jules Verne by reading aloud 20,000 Leagues Under the Sea. A further subplot involves Marie-Laure’s father’s having hidden a valuable diamond, one being tracked down by Reinhold von Rumpel, a relentless German sergeant-major.

Doerr captures the sights and sounds of wartime and focuses, refreshingly, on the innate goodness of his major characters.

Pub Date: May 6, 2014

ISBN: 978-1-4767-4658-6

Page Count: 448

Publisher: Scribner

Review Posted Online: March 6, 2014

Kirkus Reviews Issue: March 15, 2014

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Despite some distractions, there’s an irresistible charm to Owens’ first foray into nature-infused romantic fiction.

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WHERE THE CRAWDADS SING

A wild child’s isolated, dirt-poor upbringing in a Southern coastal wilderness fails to shield her from heartbreak or an accusation of murder.

“The Marsh Girl,” “swamp trash”—Catherine “Kya” Clark is a figure of mystery and prejudice in the remote North Carolina coastal community of Barkley Cove in the 1950s and '60s. Abandoned by a mother no longer able to endure her drunken husband’s beatings and then by her four siblings, Kya grows up in the careless, sometimes-savage company of her father, who eventually disappears, too. Alone, virtually or actually, from age 6, Kya learns both to be self-sufficient and to find solace and company in her fertile natural surroundings. Owens (Secrets of the Savanna, 2006, etc.), the accomplished co-author of several nonfiction books on wildlife, is at her best reflecting Kya’s fascination with the birds, insects, dappled light, and shifting tides of the marshes. The girl’s collections of shells and feathers, her communion with the gulls, her exploration of the wetlands are evoked in lyrical phrasing which only occasionally tips into excess. But as the child turns teenager and is befriended by local boy Tate Walker, who teaches her to read, the novel settles into a less magical, more predictable pattern. Interspersed with Kya’s coming-of-age is the 1969 murder investigation arising from the discovery of a man’s body in the marsh. The victim is Chase Andrews, “star quarterback and town hot shot,” who was once Kya’s lover. In the eyes of a pair of semicomic local police officers, Kya will eventually become the chief suspect and must stand trial. By now the novel’s weaknesses have become apparent: the monochromatic characterization (good boy Tate, bad boy Chase) and implausibilities (Kya evolves into a polymath—a published writer, artist, and poet), yet the closing twist is perhaps its most memorable oddity.

Despite some distractions, there’s an irresistible charm to Owens’ first foray into nature-infused romantic fiction.

Pub Date: Aug. 14, 2018

ISBN: 978-0-7352-1909-0

Page Count: 384

Publisher: Putnam

Review Posted Online: May 15, 2018

Kirkus Reviews Issue: June 1, 2018

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