Not one of this gifted author’s best, though it’s finely rendered with poignant realism.
Prolific, protean O’Nan examines a familiar subject, hard-pressed working-class life in America, through the lens of a Rhode Island murder.
Ashaway, Rhode Island, in 2009 is a typical postindustrial town; the mill that employed most of its residents is closed, leaving people like Carol to scrabble for a living as a nurse’s aide to support her two teenage daughters. One of them, Marie, opens the novel with these words: “When I was in eighth grade my sister helped kill another girl.” This is not a whodunit but an exploration of why the murder happened; O’Nan tells the story with his characteristic compassion (and artistic boldness) by inhabiting the consciousnesses of four unhappy, conflicted females. Overweight, unpopular Marie is the fearful, helpless observer. Carol wants more for her girls than she has, “but exactly how that will happen she can’t imagine”—so she focuses instead on finding a new boyfriend who’s better than the parade of losers who have earned her eldest daughter Angel’s contempt. Angel can’t see any way out either; her post-graduation future promises little beyond continuing to work in her dead-end after-school job while privileged boyfriend Myles heads for college and “she’ll lose him to some rich girl.” Actually, Myles is already cheating on her with Birdy, the victim-to-be, whose lovestruck perspective is the fourth narrative strand. But she’s no rich girl; Birdy and Angel are more alike than different, frustrated and obsessing about a boy who doesn’t seem worth it. Seen only through others’ eyes, Myles’ role in the ensuing tragedy remains murky. The novel’s main thrust is also unclear; Marie’s closing monologue suggests themes of memory and identity that weren’t particularly evident as the story progressed. However, the book is rich in social detail, including the teenagers’ socially networked world, and warmed by O’Nan’s customary tenderness for ordinary lives. Everyday People was the title of one of his first great novels, in 2001, and depicting everyday people with sensitive acuity remains one of his principal artistic achievements here.
Not one of this gifted author’s best, though it’s finely rendered with poignant realism.Pub Date: March 8, 2022
ISBN: 978-0-8021-5927-4
Page Count: 240
Publisher: Grove
Review Posted Online: Dec. 14, 2021
Kirkus Reviews Issue: Jan. 1, 2022
BOOK REVIEW
BOOK REVIEW
Though not perfect, a clear leap forward for Rooney; her grandmaster status remains intact.
Two brothers—one a lawyer, one a chess prodigy—work through the death of their father, their complicated romantic lives, and their even more tangled relationship with each other.
Ten years separate the Koubek brothers. In his early 30s, Peter has turned his past as a university debating champ into a career as a progressive lawyer in Dublin. Ivan is just out of college, struggling to make ends meet through freelance data analysis and reckoning with his recent free fall in the world chess rankings. When their father dies of cancer, the cracks in the brothers’ relationship widen. “Complete oddball” Ivan falls in love with an older woman, an arts center employee, which freaks Peter out. Peter juggles two women at once: free-spirited college student Naomi and his ex-girlfriend Sylvia, whose life has changed drastically since a car accident left her in chronic pain. Emotional chaos abounds. Rooney has struck a satisfying blend of the things she’s best at—sensitively rendered characters, intimacies, consideration of social and philosophical issues—with newer moves. Having the book’s protagonists navigating a familial rather than romantic relationship seems a natural next step for Rooney, with her astutely empathic perception, and the sections from Peter’s point of view show Rooney pushing her style into new territory with clipped, fragmented, almost impressionistic sentences. (Peter on Sylvia: “Must wonder what he’s really here for: repentance, maybe. Bless me for I have. Not like that, he wants to tell her. Why then. Terror of solitude.”) The risk: Peter comes across as a slightly blurry character, even to himself—he’s no match for the indelible Ivan—so readers may find these sections less propulsive at best or over-stylized at worst. Overall, though, the pages still fly; the characters remain reach-out-and-touch-them real.
Though not perfect, a clear leap forward for Rooney; her grandmaster status remains intact.Pub Date: Sept. 24, 2024
ISBN: 9780374602635
Page Count: 464
Publisher: Farrar, Straus and Giroux
Review Posted Online: July 4, 2024
Kirkus Reviews Issue: Aug. 1, 2024
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
"Don't go into the woods" takes on unsettling new meaning in Moore's blend of domestic drama and crime novel.
Many years after her older brother, Bear, went missing, Barbara Van Laar vanishes from the same sleepaway camp he did, leading to dark, bitter truths about her wealthy family.
One morning in 1975 at Camp Emerson—an Adirondacks summer camp owned by her family—it's discovered that 13-year-old Barbara isn't in her bed. A problem case whose unhappily married parents disdain her goth appearance and "stormy" temperament, Barbara is secretly known by one bunkmate to have slipped out every night after bedtime. But no one has a clue where's she permanently disappeared to, firing speculation that she was taken by a local serial killer known as Slitter. As Jacob Sluiter, he was convicted of 11 murders in the 1960s and recently broke out of prison. He's the one, people say, who should have been prosecuted for Bear's abduction, not a gardener who was framed. Leave it to the young and unproven assistant investigator, Judy Luptack, to press forward in uncovering the truth, unswayed by her bullying father and male colleagues who question whether women are "cut out for this work." An unsavory group portrait of the Van Laars emerges in which the children's father cruelly abuses their submissive mother, who is so traumatized by the loss of Bear—and the possible role she played in it—that she has no love left for her daughter. Picking up on the themes of families in search of themselves she explored in Long Bright River (2020), Moore draws sympathy to characters who have been subjected to spousal, parental, psychological, and physical abuse. As rich in background detail and secondary mysteries as it is, this ever-expansive, intricate, emotionally engaging novel never seems overplotted. Every piece falls skillfully into place and every character, major and minor, leaves an imprint.
"Don't go into the woods" takes on unsettling new meaning in Moore's blend of domestic drama and crime novel.Pub Date: July 2, 2024
ISBN: 9780593418918
Page Count: 496
Publisher: Riverhead
Review Posted Online: April 13, 2024
Kirkus Reviews Issue: May 15, 2024
PERSPECTIVES
SEEN & HEARD
SEEN & HEARD
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