At once spellbinding and sincere.
Two sisters chase a fairy tale across Manhattan.
Being raised by an eccentric grifter who fancies herself a “professional muse” affects sisters Rose and Cecelia Foster in different ways. Musician Cecelia blows off Juilliard to become an irresponsible, “idiotically openhearted” mess, flitting from lover to lover and continent to continent while seeking something ineffable; talented artist Rose, on the other hand, eschews creativity for predictability, double-majoring in math and computer science while maintaining the lease on their childhood apartment so that Cecelia will always have somewhere to land. Rose is a 28-year-old coder, engaged to pragmatic tech bro Caleb, when Cecelia, 30, leaves her new husband, Paul, and moves back in with her sister, claiming she’s there to stay. Rose’s hopes are high until Cecelia comes home one night clutching a card calligraphed with “THE AVALON CABARET” and “Another life is possible.” Cecelia starts behaving erratically, and when she ghosts Rose on Thanksgiving, then turns up the next morning rambling about magic and a little red boat, Rose snaps and evicts her. Weeks pass, and then Paul reaches out: Cecelia called him to say goodbye and asked him to tell Rose she was “going away with the fairies.” Caleb tells Rose to forget Cecelia; instead, Rose secretly teams up with Paul to search for answers, growing increasingly disillusioned with her own staid existence as their investigation progresses. Set in a New York by turns gritty and glittering, Burton’s latest enthralls while exploring the frequently fraught nature of adult sibling relationships. Cecelia serves as the book’s third rail, dividing its characters and imbuing every scene with a crackling tension.
At once spellbinding and sincere.Pub Date: Jan. 2, 2024
ISBN: 9781982170097
Page Count: 320
Publisher: Simon & Schuster
Review Posted Online: Dec. 6, 2023
Kirkus Reviews Issue: Jan. 1, 2024
An affecting portrait of a prickly woman.
A lifetime’s worth of letters combine to portray a singular character.
Sybil Van Antwerp, a cantankerous but exceedingly well-mannered septuagenarian, is the titular correspondent in Evans’ debut novel. Sybil has retired from a beloved job as chief clerk to a judge with whom she had previously been in private legal practice. She is the divorced mother of two living adult children and one who died when he was 8. She is a reader of novels, a gardener, and a keen observer of human nature. But the most distinguishing thing about Sybil is her lifelong practice of letter writing. As advancing vision problems threaten Sybil’s carefully constructed way of life—in which letters take the place of personal contact and engagement—she must reckon with unaddressed issues from her past that threaten the house of cards (letters, really) she has built around herself. Sybil’s relationships are gradually revealed in the series of letters sent to and received from, among others, her brother, sister-in-law, children, former work associates, and, intriguingly, literary icons including Joan Didion and Larry McMurtry. Perhaps most affecting is the series of missives Sybil writes but never mails to a shadowy figure from her past. Thoughtful musings on the value and immortal quality of letters and the written word populate one of Sybil’s notes to a young correspondent while other messages are laugh-out-loud funny, tinged with her characteristic blunt tartness. Evans has created a brusque and quirky yet endearing main character with no shortage of opinions and advice for others but who fails to excavate the knotty difficulties of her own life. As Sybil grows into a delayed self-awareness, her letters serve as a chronicle of fitful growth.
An affecting portrait of a prickly woman.Pub Date: May 6, 2025
ISBN: 9780593798430
Page Count: 304
Publisher: Crown
Review Posted Online: Feb. 15, 2025
Kirkus Reviews Issue: March 15, 2025
Amateurish, with a twist savvy readers will see coming from a mile away.
A woman accused of shooting her husband six times in the face refuses to speak.
"Alicia Berenson was thirty-three years old when she killed her husband. They had been married for seven years. They were both artists—Alicia was a painter, and Gabriel was a well-known fashion photographer." Michaelides' debut is narrated in the voice of psychotherapist Theo Faber, who applies for a job at the institution where Alicia is incarcerated because he's fascinated with her case and believes he will be able to get her to talk. The narration of the increasingly unrealistic events that follow is interwoven with excerpts from Alicia's diary. Ah, yes, the old interwoven diary trick. When you read Alicia's diary you'll conclude the woman could well have been a novelist instead of a painter because it contains page after page of detailed dialogue, scenes, and conversations quite unlike those in any journal you've ever seen. " 'What's the matter?' 'I can't talk about it on the phone, I need to see you.' 'It's just—I'm not sure I can make it up to Cambridge at the minute.' 'I'll come to you. This afternoon. Okay?' Something in Paul's voice made me agree without thinking about it. He sounded desperate. 'Okay. Are you sure you can't tell me about it now?' 'I'll see you later.' Paul hung up." Wouldn't all this appear in a diary as "Paul wouldn't tell me what was wrong"? An even more improbable entry is the one that pins the tail on the killer. While much of the book is clumsy, contrived, and silly, it is while reading passages of the diary that one may actually find oneself laughing out loud.
Amateurish, with a twist savvy readers will see coming from a mile away.Pub Date: Feb. 5, 2019
ISBN: 978-1-250-30169-7
Page Count: 304
Publisher: Celadon Books
Review Posted Online: Nov. 3, 2018
Kirkus Reviews Issue: Nov. 15, 2018
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