Impressive worldbuilding, but to what end?
An idiosyncratic and ambitious novel from the author of The Spoiler (2012).
“Hame” is Scots for “home.” This is a novel shot through with Scots poetry (invented by the author), interwoven with passages from the diary of a Scots poet (invented by the author), broken up by excerpts from a scholarly work on said poet (invented by the author, obviously), and studded with footnotes (referencing works invented by the author). There’s a glossary here and a bibliography. There are recipes. All of this is to say that, while the words “a novel” on a book cover can usually be read as a simple description, that phrase, in this case, is instead a rather provocative assertion. Certainly, McAfee is not the first novelist to use invented texts and scholarly apparatuses in service to contemporary fiction. Possession by A.S. Byatt is an obvious comparison. Susanna Clarke’s Jonathan Strange & Mr. Norrell and the fiction of Umberto Eco also come to mind. But Eco combines erudition with a healthy appreciation of juicy Gothic tropes. Clarke has magic. And there’s a fateful connection between the figures Byatt invents and the scholars who study them. What McAfee presents here will, perhaps, be most familiar to readers of J.R.R. Tolkien—who gives readers orcs and elves, sure, but in service to exhaustive worldbuilding. The island of Fascaray is Scotland in miniature in both landscape and history. Mary, Queen of Scots; Bonnie Prince Charlie; and Charles Rennie Mackintosh have all visited this remote place. And Grigor McWatt spent his life cataloging the place in both prose and poetry. McAfee's protagonist, Mhairi McPhail, moves from Manhattan to an island in the Hebrides because she’s writing a book about the “Bard of Fascaray” and because her marriage is over. The verse is convincing enough, and Mhairi’s study of McWatt certainly reads like an academic text. But ask an academic: how many people read their books? The sections presented from Mhairi’s point of view are more accessible, but the snarky tone is a bad fit here. While it’s easy to envision diverse readers attracted to this book, it’s difficult to imagine any reader who isn’t skimming over vast swathes of the very, very, very long text.
Impressive worldbuilding, but to what end?Pub Date: Sept. 13, 2017
ISBN: 978-1-5247-3172-4
Page Count: 592
Publisher: Knopf
Review Posted Online: June 19, 2017
Kirkus Reviews Issue: July 1, 2017
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
Print the bumper sticker—"I'd Rather Be Living in an Elin Hilderbrand Novel."
Back to St. John with the Steele family, whose tragic loss and horrifying discovery have yielded an exciting new life.
In Winter in Paradise (2018), Hilderbrand introduced Midwestern magazine editor Irene Steele and her adult sons, Baker and Cash, then swept them off to the island of St. John after paterfamilias Russell Steele was killed in a helicopter crash with his secret mistress, leaving a preteen love child and a spectacular villa. While the first volume left a lot up in the air about Russell’s dubious business dealings and the manner of his death, this installment fills in many of the blanks. All three Steeles made new friends during their unexpected visit to the island in January, and now that’s resulted in job offers for Irene and Cash and the promise of new love for single dad Baker. Why not move to St. John and into the empty villa? Mother, sons, and grandson do just that. Both the dead mistress’s diary and a cadre of FBI agents begin to provide answers to the questions left dangling in Volume 1, and romantic prospects unfold for all three Steeles. Nevertheless, as a wise person once said, shit happens, combusting the family’s prospects and leading to a cliffhanger ending. On the way, there will be luscious island atmosphere, cute sundresses, frozen drinks, “slender baguette sandwiches with duck, arugula and fig jam,” lemongrass sugar cookies, and numerous bottles of both Krug and Dom Pérignon, the latter served by a wiseass who offers one of his trademark tasting notes: “This storied bubbly has notes of Canadian pennies, your dad’s Members Only jacket, and…‘We Are Never, Ever, Ever Getting Back Together.’ ” You'll be counting the days until you can return to the Virgin Islands with these characters in the concluding volume of the trilogy.
Print the bumper sticker—"I'd Rather Be Living in an Elin Hilderbrand Novel."Pub Date: Oct. 8, 2019
ISBN: 978-0-316-43557-4
Page Count: 352
Publisher: Little, Brown
Review Posted Online: Aug. 18, 2019
Kirkus Reviews Issue: Sept. 1, 2019
SEEN & HEARD
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