Almond’s first novel is ambitious and empathic but sometimes unwieldy.
A disappearance brings together a host of disparate lives in early-1980s California.
This novel, Almond’s first, follows a number of acclaimed story collections and works of nonfiction. He’s opted to use the biggest possible canvas, incorporating a diverse cast of characters and a host of weighty themes. The resulting novel is incredibly ambitious while also featuring some unexpected touches—scorpion biology and Nancy Reagan both play significant roles. The bulk of the novel is set in California in 1981. Lorena Saenz, age 13, is partnered with classmate Jenny Stallworth for a science fair project. Lorena is the daughter of an undocumented mother and comes from a working-class background; Jenny’s family, by contrast, is wealthy. More ominously, Jenny’s father, Marcus—a scientist and academic with an interest in scorpions—develops an attraction to Lorena. Almond summons plenty of tension from the question of whether or not Marcus will do something awful—right up until the point when he vanishes under mysterious circumstances and Lorena’s older brother, Tony, becomes a suspect in his disappearance. It’s at this point that Pedro Guerrero, one of the police officers investigating the case, enters the narrative, expanding its scope beyond the two families of the early chapters. Almond is grappling with a lot of weighty themes: Class disparities, sexual abuse, corrupt policing, immigration, and the modern Republican Party (including a couple of references to the Romney family) all play significant parts here. But while the large-scale tragedy that plays out is thought-provoking, the novel’s stranger digressions—like glowing scorpions—are what endure.
Almond’s first novel is ambitious and empathic but sometimes unwieldy.Pub Date: April 19, 2022
ISBN: 978-1-63893-002-0
Page Count: 416
Publisher: Zando
Review Posted Online: March 1, 2022
Kirkus Reviews Issue: March 15, 2022
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Amateurish, with a twist savvy readers will see coming from a mile away.
A woman accused of shooting her husband six times in the face refuses to speak.
"Alicia Berenson was thirty-three years old when she killed her husband. They had been married for seven years. They were both artists—Alicia was a painter, and Gabriel was a well-known fashion photographer." Michaelides' debut is narrated in the voice of psychotherapist Theo Faber, who applies for a job at the institution where Alicia is incarcerated because he's fascinated with her case and believes he will be able to get her to talk. The narration of the increasingly unrealistic events that follow is interwoven with excerpts from Alicia's diary. Ah, yes, the old interwoven diary trick. When you read Alicia's diary you'll conclude the woman could well have been a novelist instead of a painter because it contains page after page of detailed dialogue, scenes, and conversations quite unlike those in any journal you've ever seen. " 'What's the matter?' 'I can't talk about it on the phone, I need to see you.' 'It's just—I'm not sure I can make it up to Cambridge at the minute.' 'I'll come to you. This afternoon. Okay?' Something in Paul's voice made me agree without thinking about it. He sounded desperate. 'Okay. Are you sure you can't tell me about it now?' 'I'll see you later.' Paul hung up." Wouldn't all this appear in a diary as "Paul wouldn't tell me what was wrong"? An even more improbable entry is the one that pins the tail on the killer. While much of the book is clumsy, contrived, and silly, it is while reading passages of the diary that one may actually find oneself laughing out loud.
Amateurish, with a twist savvy readers will see coming from a mile away.Pub Date: Feb. 5, 2019
ISBN: 978-1-250-30169-7
Page Count: 304
Publisher: Celadon Books
Review Posted Online: Nov. 3, 2018
Kirkus Reviews Issue: Nov. 15, 2018
BOOK REVIEW
BOOK REVIEW
Uneven but fitfully amusing.
Betrayed by her husband, a severely depressed young woman gets drawn into the over-the-top festivities at a lavish wedding.
Phoebe Stone, who teaches English literature at a St. Louis college, is plotting her own demise. Her husband, Matt, has left her for another woman, and Phoebe is taking it hard. Indeed, she's determined just where and how she will end it all: at an oceanfront hotel in Newport, where she will lie on a king-sized canopy bed and take a bottle of her cat’s painkillers. At the hotel, Phoebe meets bride-to-be Lila, a headstrong rich girl presiding over her own extravagant six-day wedding celebration. Lila thought she had booked every room in the hotel, and learning of Phoebe's suicidal intentions, she forbids this stray guest from disrupting the nuptials: “No. You definitely can’t kill yourself. This is my wedding week.” After the punchy opening, a grim flashback to the meltdown of Phoebe's marriage temporarily darkens the mood, but things pick up when spoiled Lila interrupts Phoebe's preparations and sweeps her up in the wedding juggernaut. The slide from earnest drama to broad farce is somewhat jarring, but from this point on, Espach crafts an enjoyable—if overstuffed—comedy of manners. When the original maid of honor drops out, Phoebe is persuaded, against her better judgment, to take her place. There’s some fun to be had here: The wedding party—including groom-to-be Gary, a widower, and his 11-year-old daughter—takes surfing lessons; the women in the group have a session with a Sex Woman. But it all goes on too long, and the humor can seem forced, reaching a low point when someone has sex with the vintage wedding car (you don’t want to know the details). Later, when two characters have a meet-cute in a hot tub, readers will guess exactly how the marriage plot resolves.
Uneven but fitfully amusing.Pub Date: July 30, 2024
ISBN: 9781250899576
Page Count: 384
Publisher: Henry Holt
Review Posted Online: Sept. 13, 2024
BOOK REVIEW
BOOK REVIEW
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