A thoughtful and realistic portrait of those golden people who seem to have such enviable lives.
What do we do with bad news of the dead? A near-perfect second marriage is disrupted—first by death, then by posthumous revelations.
Boston bookstore owner Graham McFarlane is such a lovable and forgivable man that the ex-wife he cheated on, Frieda, and her replacement, a photographer named Annie, whom he is also cheating on, are close friends. Woman No. 3 is not going to make it into the circle, though, as Graham dies of a heart attack the day after he stops by her house to break up with her in a fit of uxoriousness and remorse. This death happens fairly early in the book, but since the reader knows about the affair and Annie does not, the first two-thirds of Miller’s 13th novel are infused with a merry narrative tension. That energy dissipates somewhat when Annie eventually finds out about Graham's infidelity. At this point the novel becomes more meditative, sticking close to Annie as she deals with the disorienting feeling that she never really knew the man she deeply loved—and who so clearly loved her—for 30 years. As their daughter, Sarah, describes her “Rabelaisian” father, “He was big, in every way. A lover of life. And kind.…He made people happy, without even trying.” Of course the last thing Annie wants is for Graham’s children, or anyone else, to know what she now knows. Miller’s skill at depicting the intricacies of marriage, parenting, and domestic life, the atmosphere of the independent bookstore, and the pleasures of flowers, wine, and food (a craving for split pea soup with ham and dill, served with “a loaf of dark rye [from] Formaggio,” lingers still) makes this book charming and inviting in a way that is somewhat at odds with its sorrowful impetus.
A thoughtful and realistic portrait of those golden people who seem to have such enviable lives.Pub Date: Sept. 8, 2020
ISBN: 978-0-06296-965-1
Page Count: 352
Publisher: Harper/HarperCollins
Review Posted Online: June 2, 2020
Kirkus Reviews Issue: June 15, 2020
Taut, funny, and poignant; a tremendous debut.
A young single mother with a carefully guarded past reluctantly chaperones a school trip across California at the behest of her determined and curious daughter.
In 1989, 18-year-old Szonja Imre arrives in Los Angeles from Hungary to spend the summer with her married sister. In 2001, Sonia Imre dodges nosy PTA parents curious about a single mother with an unspecified background and a cagey demeanor. The how and why of this transformation is slowly revealed across both timelines, with excursions back and forth and in between, to Budapest, D.C., and California suburbia. When Szonja first arrives in Los Angeles, she’s surprised and a little disappointed by the rigidly structured life her once-close elder sister, Rina, has built. Now married to an Orthodox Jewish man, adult Rina has fully embraced the Jewish faith she and Szonja were raised to quietly ignore by their parents, both assiduously assimilated children of the Holocaust. As tension between the sisters grows, Szonja finds new connection with a boy from the Hebrew class she reluctantly attends each week. In the new millennium, Sonia’s daughter Mila has a plan: a parent-trap under the cover of a school orchestra trip to force her secretive mother to finally introduce her to the man who, she is certain, must be her father. But for Sonia, the trip is a series of minefields as she seeks to protect herself and her daughter from the fact of her less-than-legal status in America. Sonia/Szonja is a deliciously vivid character, her wry perspective revealing a character as spiky and vulnerable as the novel’s title suggests. Fabriczki’s prose dances lightly in a brisk, knowing, slightly aloof third-person present-tense voice perfectly tuned to its main character. Emotions slam in from the side, grief and alienation and the slow-dawning realization that “life unspools, one decision at a time cutting out entire alternative worlds, an endless series of bifurcations nudging each person into a life they have no way of knowing they will like or not.”
Taut, funny, and poignant; a tremendous debut.Pub Date: April 14, 2026
ISBN: 9781668091913
Page Count: 320
Publisher: Summit
Review Posted Online: Jan. 19, 2026
Kirkus Reviews Issue: Feb. 15, 2026
PERSPECTIVES
A deep and grimly whimsical exploration of what it means to be a son, a father, and an artist.
A retelling of Pinocchio from Geppetto's point of view.
The novel purports to be the memoirs of Geppetto, a carpenter from the town of Collodi, written in the belly of a vast fish that has swallowed him. Fortunately for Geppetto, the fish has also engulfed a ship, and its supplies—fresh water, candles, hardtack, captain’s logbook, ink—are what keep the Swallowed Man going. (Collodi is, of course, the name of the author of the original Pinocchio.) A misfit whose loneliness is equaled only by his drive to make art, Geppetto scours his surroundings for supplies, crafting sculptures out of pieces of the ship’s wood, softened hardtack, mussel shells, and his own hair, half hoping and half fearing to create a companion once again that will come to life. He befriends a crab that lives all too briefly in his beard, then mourns when “she” dies. Alone in the dark, he broods over his past, reflecting on his strained relationship with his father and his harsh treatment of his own “son”—Pinocchio, the wooden puppet that somehow came to life. In true Carey fashion, the author illustrates the novel with his own images of his protagonist’s art: sketches of Pinocchio, of woodworking tools, of the women Geppetto loved; photos of driftwood, of tintypes, of a sculpted self-portrait with seaweed hair. For all its humor, the novel is dark and claustrophobic, and its true subject is the responsibilities of creators. Remembering the first time he heard of the sea monster that was to swallow him, Geppetto wonders if the monster is somehow connected to Pinocchio: “The unnatural child had so thrown the world off-balance that it must be righted at any cost, and perhaps the only thing with the power to right it was a gigantic sea monster, born—I began to suppose this—just after I cracked the world by making a wooden person.” Later, contemplating his self-portrait bust, Geppetto asks, “Monster of the deep. Am I, then, the monster? Do I nightmare myself?”
A deep and grimly whimsical exploration of what it means to be a son, a father, and an artist.Pub Date: Jan. 26, 2021
ISBN: 978-0-593-18887-3
Page Count: 208
Publisher: Riverhead
Review Posted Online: Sept. 29, 2020
Kirkus Reviews Issue: Oct. 15, 2020
© Copyright 2026 Kirkus Media LLC. All Rights Reserved.
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