IN THE LOBBY OF THE DREAM HOTEL

An intimate, fractured case study explores the relationships and inner perspective of Portia Elby, who has bipolar disorder.

“A garish heap of self-loathing in her head” is one glimpse of how Portia characterizes herself in Plunkett’s first novel, a nuanced portrait of one woman’s years of mental and social struggle. Married to lawyer Nathan, with a beloved 7-year-old son, Julian, Portia currently spends her time playing guitar in a small rock band called Poor Alice and visiting her aging psychiatrist, Dr. Shay. Her nervous anxiety became acute at age 13, and by 15 she was in Dr. Shay’s care, although this didn’t prevent her from dropping out of college and spending time in a mental hospital, where she cut herself. Now, as a wife and mother, she’s found stability through Dr. Shay’s pills but at the price of “a fine, elusive layer of her spirit,” so for the last six months she has quietly stopped taking them. She has also fallen in love with band member Theo, who seems to reciprocate her feelings. But matters come to a head when Nathan—often a chilly, manipulative, critical presence—discovers the pill accumulation and stages an intervention. Plunkett’s presentation of Portia, her history, choices, feelings, and stranger notions, is far from linear. Instead, the novel unrolls scenes, moods, and events out of sequence, requiring some patience and unpacking, not least regarding various men in Portia’s life. There are also manic episodes and delusions regarding long-dead musician Alby Porter, all this delivered in slices interleaved with the intervention and its aftermath. Simultaneously sensitive to Portia’s perception and muddy in its chronology, the novel succeeds in accumulating a faceted psychological profile, but its indulgent length (including excursions into Theo’s point of view), the absence of plot dynamism, and the limited appeal of the characters leave it partially stranded.

Stronger on empathy than engagement.