Clark has talent and energy to burn. But she’s burning both up in wasteful displays of gratuitous pyrotechnics.
A seduced and abandoned maiden’s tribulations in early 18th-century London are recounted with almost frightening gusto in the British author’s successor to her debut historical novel, The Great Stink (2005).
When teenaged Eliza Tally is rejected by the well-born lover who impregnated her, then “married” her only nominally, Eliza’s pragmatic mother sends her away to become maid to London apothecary Grayson Black, whose truculent wife manages the household and savagely mistreats Eliza and her “half-witted” companion servant Mary. Eliza’s pregnancy is also endangered by the unwelcome attentions of Black’s oafish apprentice Edgar Pettigrew—and by her increasing suspicions that scientific researches undertaken by the secretive Black are disturbingly related to his interest in her services. The narrative of Eliza’s experiences and discoveries is juxtaposed with Black’s research notes and correspondence, from which we learn that he is studying “effects of strong emotions, fear, desire, and such like, upon the physical form of a foetus”; furthermore, using pregnant females as laboratory animals, to learn what “monsters” they may produce. The roots of Black’s obsession lie in the circumstances of his own birth: a story Clark (unwisely) declines to tell. Instead, she concocts a raving melodrama (precisely and impressively researched, but almost insanely lurid). It’s a compound of Mary Shelley’s Frankenstein, Samuel Richardson’s Pamela and Daniel Defoe’s Moll Flanders, in which too many characters are drooling or malformed grotesques and virtually every scene is a festering sewer (the spectacle of St. Paul’s Cathedral being a hopeful exception), with numerous incidents plunging into stomach-churning visceral and excretory detail. Eliza perseveres, thanks to an initially benign bookseller, thwarted by the malevolent Ms. Black, ennobled by her protective affection for the pathetic Mary (whose own history holds secrets eventually disclosed). And all falls apart, in a climax so absurd it would seem excessive in the lamest of bodice-rippers.
Clark has talent and energy to burn. But she’s burning both up in wasteful displays of gratuitous pyrotechnics.Pub Date: May 1, 2007
ISBN: 0-15-101206-7
Page Count: 400
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 15, 2007
A thoughtful and pensive tale with intelligent characters and a satisfying romance.
A promise to his best friend leads an Army serviceman to a family in need and a chance at true love in this novel.
Beckett Gentry is surprised when his Army buddy Ryan MacKenzie gives him a letter from Ryan’s sister, Ella. Abandoned by his mother, Beckett grew up in a series of foster homes. He is wary of attachments until he reads Ella’s letter. A single mother, Ella lives with her twins, Maisie and Colt, at Solitude, the resort she operates in Telluride, Colorado. They begin a correspondence, although Beckett can only identify himself by his call sign, Chaos. After Ryan’s death during a mission, Beckett travels to Telluride as his friend had requested. He bonds with the twins while falling deeply in love with Ella. Reluctant to reveal details of Ryan’s death and risk causing her pain, Beckett declines to disclose to Ella that he is Chaos. Maisie needs treatment for neuroblastoma, and Beckett formally adopts the twins as a sign of his commitment to support Ella and her children. He and Ella pursue a romance, but when an insurance investigator questions the adoption, Beckett is faced with revealing the truth about the letters and Ryan’s death, risking losing the family he loves. Yarros’ (Wilder, 2016, etc.) novel is a deeply felt and emotionally nuanced contemporary romance bolstered by well-drawn characters and strong, confident storytelling. Beckett and Ella are sympathetic protagonists whose past experiences leave them cautious when it comes to love. Beckett never knew the security of a stable home life. Ella impulsively married her high school boyfriend, but the marriage ended when he discovered she was pregnant. The author is especially adept at developing the characters through subtle but significant details, like Beckett’s aversion to swearing. Beckett and Ella’s romance unfolds slowly in chapters that alternate between their first-person viewpoints. The letters they exchanged are pivotal to their connection, and almost every chapter opens with one. Yarros’ writing is crisp and sharp, with passages that are poetic without being florid. For example, in a letter to Beckett, Ella writes of motherhood: “But I’m not the center of their universe. I’m more like their gravity.” While the love story is the book’s focus, the subplot involving Maisie’s illness is equally well-developed, and the link between Beckett and the twins is heartfelt and sincere.
A thoughtful and pensive tale with intelligent characters and a satisfying romance.Pub Date: Feb. 26, 2019
ISBN: 978-1-64063-533-3
Page Count: 432
Publisher: Entangled: Amara
Review Posted Online: Jan. 2, 2019
Kirkus Reviews Issue: Feb. 15, 2019
Review Program: Kirkus Indie
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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