Pleasantly soporific.
A young widow immerses herself in antiquity and uncovers a scandal in Alexander’s Victorian-era suspense debut.
Emily married Philip, a wealthy viscount, mainly to escape her overbearing mother’s constant hectoring. Her new husband has two passions: acquiring ancient Greek vases and statuary, and big-game hunting. Shortly after their marriage, Philip leaves Emily in their London townhouse and embarks on an extended African safari. His fellow hunters, impoverished aristocrats Andrew and Arthur Palmer and best friend Colin Hargreaves, report that he died of a mysterious fever at camp. Widowed after only six months of marriage to a man she hardly knew, Emily is relieved and secretly exhilarated by her inherited fortune and the independence it offers. But she soon sees signs that Philip had had things to hide. A man with a scarred face stalks her while she is inspecting the antiquities her husband donated to the British Museum. Philip’s desk and her Paris hotel room are ransacked. Colin, to whom she is attracted, is frustratingly unforthcoming about Philip’s business dealings—and his own. Andrew, who at first charms Emily with his debonair cynicism about society, and his acceptance of her rebellions (drinking port instead of sherry, studying ancient Greek), turns hostile when she rejects his proposal. At the Louvre, she befriends Attewater, an expert forger who specializes in copying classical artifacts on commission. However, he will not identify his well-heeled patrons. Emily learns from this unsavory acquaintance that Philip’s British Museum gifts are actually copies and the originals are stockpiled at his country estate. Then word comes through that Philip may actually be alive. Emily, who has fallen in love with her husband after reading his journal (sections of it introduce each chapter), prepares to go on safari to search for him. Following a long buildup, the payoff is rather too predictable, and the opulence insulating Emily insures that she’s never truly in jeopardy.
Pleasantly soporific.Pub Date: Oct. 11, 2005
ISBN: 0-06-075671-3
Page Count: 320
Publisher: Morrow/HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 1, 2005
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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
Too beholden to sentimentality and cliché, this novel fails to establish a uniquely realized perspective.
Hunter’s debut novel tracks the experiences of her family members during the Holocaust.
Sol and Nechuma Kurc, wealthy, cultured Jews in Radom, Poland, are successful shop owners; they and their grown children live a comfortable lifestyle. But that lifestyle is no protection against the onslaught of the Holocaust, which eventually scatters the members of the Kurc family among several continents. Genek, the oldest son, is exiled with his wife to a Siberian gulag. Halina, youngest of all the children, works to protect her family alongside her resistance-fighter husband. Addy, middle child, a composer and engineer before the war breaks out, leaves Europe on one of the last passenger ships, ending up thousands of miles away. Then, too, there are Mila and Felicia, Jakob and Bella, each with their own share of struggles—pain endured, horrors witnessed. Hunter conducted extensive research after learning that her grandfather (Addy in the book) survived the Holocaust. The research shows: her novel is thorough and precise in its details. It’s less precise in its language, however, which frequently relies on cliché. “You’ll get only one shot at this,” Halina thinks, enacting a plan to save her husband. “Don’t botch it.” Later, Genek, confronting a routine bit of paperwork, must decide whether or not to hide his Jewishness. “That form is a deal breaker,” he tells himself. “It’s life and death.” And: “They are low, it seems, on good fortune. And something tells him they’ll need it.” Worse than these stale phrases, though, are the moments when Hunter’s writing is entirely inadequate for the subject matter at hand. Genek, describing the gulag, calls the nearest town “a total shitscape.” This is a low point for Hunter’s writing; elsewhere in the novel, it’s stronger. Still, the characters remain flat and unknowable, while the novel itself is predictable. At this point, more than half a century’s worth of fiction and film has been inspired by the Holocaust—a weighty and imposing tradition. Hunter, it seems, hasn’t been able to break free from her dependence on it.
Too beholden to sentimentality and cliché, this novel fails to establish a uniquely realized perspective.Pub Date: Feb. 14, 2017
ISBN: 978-0-399-56308-9
Page Count: 416
Publisher: Viking
Review Posted Online: Nov. 21, 2016
Kirkus Reviews Issue: Dec. 1, 2016
BOOK TO SCREEN
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