Ray treads the fine line between coincidence and contrivance with bravado and finesse.
This sprawling novel gives new, multilayered meaning to that old cliché, “It's a small world.”
Ray’s American debut is all about connections—and disconnections. As the title suggests, the concept of geographical displacement is a major motif. In 1989, shortly after Thanksgiving, an Indian-American couple, the Mitras, are found dead in their upstate New York home, murdered by an intruder. So far, the only suspect is their adult daughter, Devika. From there, the novel’s passage across time and space begins, landing first in 1840s Ireland. In the seaside village of Mullaghmore, budding Irish rebel Padraig; his mother, Maire; his best friend, Brendan; his true love, Brigid; and his teacher Mr. O’Flaherty pursue their passions, never dreaming their world is about to be upended. Padraig, through a set of circumstances which in less adept authorial hands would be nothing short of nonsensical, finds himself aboard an East India Company trading ship. While Padraig prospers in India, Maire and Brigid perish in the potato famine; Maeve, Padraig’s and Brigid’s small daughter, is taken by Brendan aboard a famine ship, which is shipwrecked off the coast of Canada. Thanks to a friendly hog, survivors Maeve and Brendan secure a home on a Vermont farm. Later, Maeve’s daughter, Bibi, is killed in the Triangle shirtwaist factory fire, and her toddler son, lost in the confusion following the fire, will be raised as an orphan, never knowing his family of origin. Meanwhile, in India, Padraig's Irish-Indian grandson, Robert Aherne, and descendants of the Mitra family, Padraig’s saviors and mentors in India, tell their intersecting tales. The scene shifts back to the United States, where drug dealer Billy, whose abusive father is Bibi’s lost son, encounters Devika. The variegated colors, tastes and textures of Ray’s narrative, as it moves through multiple points of view, lend a powerful sense of context to both the most trivial and the most tragic of human circumstances.
Ray treads the fine line between coincidence and contrivance with bravado and finesse.Pub Date: June 17, 2014
ISBN: 978-1-4516-3599-7
Page Count: 544
Publisher: Simon & Schuster
Review Posted Online: May 21, 2014
Kirkus Reviews Issue: June 1, 2014
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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