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FLEISHMAN IS IN TROUBLE

Firing on all circuits, from psychological insight to cultural acuity to narrative strategy to very smart humor. Quite a...

Awards & Accolades

Our Verdict

  • Our Verdict
  • GET IT


  • Kirkus Reviews'
    Best Books Of 2019


  • New York Times Bestseller

It's not like Fleishman's estranged wife, a high-powered talent agent, was ever a very involved mother. But now she's dropped off the kids—while he was asleep—and disappeared.

New York Times Magazine staff writer Brodesser-Akner's debut novel tracks Manhattan hepatologist Toby Fleishman through a painful divorce whose sting is mitigated somewhat by the wonders of his dating app. "Toby changed his search parameters to thirty-eight to forty-one, then forty to fifty, what the hell, and it was there that he found his gold mine: endlessly horny, sexually curious women who knew their value, who were feeling out something new, and whose faces didn't force him to have existential questions about youth and responsibility." About 30 pages in, we learn that the narrator is an old friend named Elizabeth “Libby” Slater, whom he met when both were college students on a year abroad in Israel. After the separation, his therapist advised Toby to reconnect with old friends; not having heard from him in years, Libby is at first nonplussed when he calls. A magazine journalist with a stalled career, she lives out in New Jersey, where she's no happier with motherhood than Toby's ex—she describes another male friend's future marriage as "He [would] find someone young and take her life away by finally having children." Toby Fleishman is a man plagued by his height (or at least he is in Libby's account; this narrative strategy raises questions), and he has never recovered from being chubby as a child; he's on a permanent no-carb, no-fat, no-sugar diet which qualifies as an eating disorder. He's a devoted father, but he's also a doctor who's angling for promotion and a man who's trying to take advantage of the unbridled lust of middle-aged women, so his wife's mysterious disappearance is infuriating. And a little scary. Toby is a wonderful character; Libby's narrative voice is funny, smart, and a little bitter as she tells his story, and some of hers as well. You get the feeling she wants to write a novel like (the fictional) Decoupling, an outrageous, bestselling, canonical account of divorce written by one of the stars at her old magazine. Perhaps she has.

Firing on all circuits, from psychological insight to cultural acuity to narrative strategy to very smart humor. Quite a debut!

Pub Date: June 18, 2019

ISBN: 978-0-525-51087-1

Page Count: 384

Publisher: Random House

Review Posted Online: Feb. 27, 2019

Kirkus Reviews Issue: March 15, 2019

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THE MOST FUN WE EVER HAD

Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...

Four Chicago sisters anchor a sharp, sly family story of feminine guile and guilt.

Newcomer Lombardo brews all seven deadly sins into a fun and brimming tale of an unapologetically bougie couple and their unruly daughters. In the opening scene, Liza Sorenson, daughter No. 3, flirts with a groomsman at her sister’s wedding. “There’s four of you?” he asked. “What’s that like?” Her retort: “It’s a vast hormonal hellscape. A marathon of instability and hair products.” Thus begins a story bristling with a particular kind of female intel. When Wendy, the oldest, sets her sights on a mate, she “made sure she left her mark throughout his house—soy milk in the fridge, box of tampons under the sink, surreptitious spritzes of her Bulgari musk on the sheets.” Turbulent Wendy is the novel’s best character, exuding a delectable bratty-ness. The parents—Marilyn, all pluck and busy optimism, and David, a genial family doctor—strike their offspring as impossibly happy. Lombardo levels this vision by interspersing chapters of the Sorenson parents’ early lean times with chapters about their daughters’ wobbly forays into adulthood. The central story unfurls over a single event-choked year, begun by Wendy, who unlatches a closed adoption and springs on her family the boy her stuffy married sister, Violet, gave away 15 years earlier. (The sisters improbably kept David and Marilyn clueless with a phony study-abroad scheme.) Into this churn, Lombardo adds cancer, infidelity, a heart attack, another unplanned pregnancy, a stillbirth, and an office crush for David. Meanwhile, youngest daughter Grace perpetrates a whopper, and “every day the lie was growing like mold, furring her judgment.” The writing here is silky, if occasionally overwrought. Still, the deft touches—a neighborhood fundraiser for a Little Free Library, a Twilight character as erotic touchstone—delight. The class calibrations are divine even as the utter apolitical whiteness of the Sorenson world becomes hard to fathom.

Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet another pleasurable tendril of sisterly malice uncurls.

Pub Date: June 25, 2019

ISBN: 978-0-385-54425-2

Page Count: 544

Publisher: Doubleday

Review Posted Online: March 3, 2019

Kirkus Reviews Issue: March 15, 2019

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THEN SHE WAS GONE

Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

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. 5, 2018

Kirkus Reviews Issue: Feb. 15, 2018

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