A compelling portrait of a city in crisis limited by its protagonist’s apathy.
A young woman makes her way through an earthquake in the heart of Tehran.
Mohebali’s novel opens on Shadi lying in bed, experiencing the beginnings of a comedown after having taken opium the previous night. As her family and city experience multiple earthquake tremors, Shadi disregards the chaos around her in favor of securing more of the opium balls that she tucks under her tongue to feel the “tadpoles” of sensation leaping through her body. Seeking out her friend Ashkan, who she thinks may have a hidden cache of drugs, she finds him “wilting under the shower” following an overdose. After she revives him, she picks through the contents of his vomit in an effort to find usable opium: “A few black specks hit the wall….I fish through his fluids for the leftovers.” Her misadventures are so bleak that appreciating the deadpan delivery can be a strain. Shadi’s pathway through Tehran is jumbled—the police take a woman who resembles Nana Molouk, her grandmother, and Shadi resolves to find her, but instead Shadi meets her old friend Sara. We see glimpses of Shadi’s love for Sara—“An earthquake isn’t so bad with Sara in one’s arms”––but ultimately even her tender flashes give way to apathy in her ongoing search for opium. Tehran-based author Mohebali has created a charismatic protagonist with an undeniable sense of humor as she watches the city devolve into frenzied flight during the earthquake, but Shadi's addiction hampers not only her own actions, but the pace and structure of the novel. Every abortive mission lessens the impact of her experience of the earthquake, and by the story’s end, the reader may be just as nihilistic as Shadi herself, lost in an often ambivalent character’s comings and goings.
A compelling portrait of a city in crisis limited by its protagonist’s apathy.Pub Date: Nov. 30, 2021
ISBN: 978-1-952177-86-6
Page Count: 168
Publisher: Feminist Press
Review Posted Online: Oct. 12, 2021
Kirkus Reviews Issue: Nov. 1, 2021
Through palpable tension balanced with glimmers of hope, Hoover beautifully captures the heartbreak and joy of starting over.
The sequel to It Ends With Us (2016) shows the aftermath of domestic violence through the eyes of a single mother.
Lily Bloom is still running a flower shop; her abusive ex-husband, Ryle Kincaid, is still a surgeon. But now they’re co-parenting a daughter, Emerson, who's almost a year old. Lily won’t send Emerson to her father’s house overnight until she’s old enough to talk—“So she can tell me if something happens”—but she doesn’t want to fight for full custody lest it become an expensive legal drama or, worse, a physical fight. When Lily runs into Atlas Corrigan, a childhood friend who also came from an abusive family, she hopes their friendship can blossom into love. (For new readers, their history unfolds in heartfelt diary entries that Lily addresses to Finding Nemo star Ellen DeGeneres as she considers how Atlas was a calming presence during her turbulent childhood.) Atlas, who is single and running a restaurant, feels the same way. But even though she’s divorced, Lily isn’t exactly free. Behind Ryle’s veneer of civility are his jealousy and resentment. Lily has to plan her dates carefully to avoid a confrontation. Meanwhile, Atlas’ mother returns with shocking news. In between, Lily and Atlas steal away for romantic moments that are even sweeter for their authenticity as Lily struggles with child care, breastfeeding, and running a business while trying to find time for herself.
Through palpable tension balanced with glimmers of hope, Hoover beautifully captures the heartbreak and joy of starting over.Pub Date: Oct. 18, 2022
ISBN: 978-1-668-00122-6
Page Count: 352
Publisher: Atria
Review Posted Online: July 26, 2022
Kirkus Reviews Issue: Aug. 15, 2022
SEEN & HEARD
SEEN & HEARD
A dramatic, vividly detailed reconstruction of a little-known aspect of the Vietnam War.
A young woman’s experience as a nurse in Vietnam casts a deep shadow over her life.
When we learn that the farewell party in the opening scene is for Frances “Frankie” McGrath’s older brother—“a golden boy, a wild child who could make the hardest heart soften”—who is leaving to serve in Vietnam in 1966, we feel pretty certain that poor Finley McGrath is marked for death. Still, it’s a surprise when the fateful doorbell rings less than 20 pages later. His death inspires his sister to enlist as an Army nurse, and this turn of events is just the beginning of a roller coaster of a plot that’s impressive and engrossing if at times a bit formulaic. Hannah renders the experiences of the young women who served in Vietnam in all-encompassing detail. The first half of the book, set in gore-drenched hospital wards, mildewed dorm rooms, and boozy officers’ clubs, is an exciting read, tracking the transformation of virginal, uptight Frankie into a crack surgical nurse and woman of the world. Her tensely platonic romance with a married surgeon ends when his broken, unbreathing body is airlifted out by helicopter; she throws her pent-up passion into a wild affair with a soldier who happens to be her dead brother’s best friend. In the second part of the book, after the war, Frankie seems to experience every possible bad break. A drawback of the story is that none of the secondary characters in her life are fully three-dimensional: Her dismissive, chauvinistic father and tight-lipped, pill-popping mother, her fellow nurses, and her various love interests are more plot devices than people. You’ll wish you could have gone to Vegas and placed a bet on the ending—while it’s against all the odds, you’ll see it coming from a mile away.
A dramatic, vividly detailed reconstruction of a little-known aspect of the Vietnam War.Pub Date: Feb. 6, 2024
ISBN: 9781250178633
Page Count: 480
Publisher: St. Martin's
Review Posted Online: Nov. 4, 2023
Kirkus Reviews Issue: Dec. 1, 2023
PERSPECTIVES
BOOK TO SCREEN
SEEN & HEARD
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