A powerful border story, at once intellectual and heartfelt.

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LOST CHILDREN ARCHIVE

A family treks south to the U.S.–Mexico border, bearing tales of broken migrant families all the way down.

In her last nonfiction book, Tell Me How It Ends (2017), Luiselli wrote about her work as a translator for Latin American families attempting to enter the U.S. This remarkable, inventive fictional take on the theme captures the anguish of those families through a deliberate piling-up of stories; reading it, you feel yourself slowly coming face to face with a world where masses of children are separated, missing, or dead of exposure in the desert. Luiselli eases into the tale by introducing an unnamed New York couple, both audio documentarians, driving their children, ages 10 and 5, to the Arizona-Mexico border. The father wants to explore the remnants of Apache culture there; the mother, who narrates much of the book, is recording an audio essay on the border crisis and has promised a woman to look into the fates of her two daughters who’ve been detained. As they drive, they alternate listening to news reports about the border and an audiobook of Lord of the Flies, and the opening sections are thick with literary references and social critique; imagine On the Road rewritten by Maggie Nelson. But the story darkens as they witness the plight firsthand and, later, as the couple's children stumble into their own crisis. There’s a slightly bloodless, formal aspect to the novel in the early going: It's structured around “archive boxes” that each character carries in the car’s trunk, and a book of elegies the mother reads to the children is made up of variations on works by Ezra Pound, Joseph Conrad, Juan Rulfo, and more. In the current political moment, one might want a less abstruse approach. But as the novel rises to a ferocious climax in a 20-page-long single sentence, Luiselli thunderously, persuasively insists that reckoning with the border will make deep demands of both our intellectual and emotional reserves.

A powerful border story, at once intellectual and heartfelt.

Pub Date: Feb. 12, 2019

ISBN: 978-0-525-52061-0

Page Count: 400

Publisher: Knopf

Review Posted Online: Oct. 28, 2018

Kirkus Reviews Issue: Nov. 15, 2018

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

THEN SHE WAS GONE

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. 6, 2018

Kirkus Reviews Issue: Feb. 15, 2018

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ANIMAL FARM

A FAIRY STORY

A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.

Pub Date: Aug. 26, 1946

ISBN: 0452277507

Page Count: 114

Publisher: Harcourt, Brace

Review Posted Online: Nov. 2, 2011

Kirkus Reviews Issue: Aug. 1, 1946

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