Sunny outlook with enough clouds to keep it interesting.
The collapse of her marriage, not to mention a three-story fall, sends a woman back home to Charleston, S.C., to investigate her father’s disappearance, in Crouch’s sardonic second (Girls in Trucks, 2008).
Hannah, 35, and her now-estranged husband Jon are sudden San Francisco millionaires—their online sex-toy business has taken off. Her drinking and infidelity have driven Jon away. Hannah suffered her most intractable emotional wound 24 years before, the day her father Buzz, a successful doctor, motored out alone into Charleston harbor, accompanied only by the family dog, Tucker. He never showed up for his son Palmer’s soccer game that afternoon. His boat was found, containing only Tucker. Buzz’s body was never recovered. His beautiful wife, Daisy, moved on and married DeWitt, Charleston’s wealthiest man. Hannah has always compared her looks—she resembles her father, whose features look too big on her—unfavorably to her mother’s. After drunkenly scaling Jon’s apartment building to prove her love, and losing her footing thanks to a yapping terrier, she wakes up in the hospital. Jon and Daisy give her a choice: recuperation in Charleston, or rehab. Rooting among old photos in DeWitt’s mansion, she discovers some unsettling clues. One snapshot shows Daisy and Buzz at a party with a group of stoned, hippie-like friends. Hovering in the background is DeWitt. But Daisy claimed not to have met DeWitt until after Buzz vanished. Palmer, a veterinarian, is quarreling with his boyfriend Tom over whether they want a child—as if gay life in Charleston wasn’t challenging enough. In his mind, Palmer obsessively revisits his father’s last day—was Buzz driven to suicide after accidentally spotting Palmer in flagrante with another boy? Only Hannah still thinks Buzz may be alive. But if he is, why did he abandon her? Although it’s believable, one senses Hannah’s quest for Buzz is merely a pretext—self-knowledge and redefinition of family are the real goals here.
Sunny outlook with enough clouds to keep it interesting.Pub Date: April 12, 2010
ISBN: 978-0-316-00213-4
Page Count: 288
Publisher: Little, Brown
Review Posted Online: Jan. 18, 2011
Kirkus Reviews Issue: Feb. 15, 2010
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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