As compulsively readable as it is thoughtful and moving: an unbeatable fictional combination.
Another ambitious change of pace for the versatile and accomplished Makkai (The Hundred-Year House, 2014, etc.), whose characters wrangle with the devastating impact of the AIDS epidemic at its height and in its aftermath.
In the first of two intertwined storylines, Yale and his live-in lover, Charlie, attend an unofficial wake for a dead friend, Nico, held simultaneously with his funeral service because his Cuban-American family has made it clear they don’t want any gay people there. It’s 1985, and Makkai stingingly re-creates the atmosphere of fear, prejudice, and sanctimonious finger-pointing surrounding the mortally afflicted gay community, even in a big city like Chicago. Nico’s younger sister, Fiona, has rejected their family and attached herself to his friends, with emotional consequences that become apparent in the second storyline, set 30 years later in Paris. As is often the case with paired stories, one of them initially seems more compelling, in this case Makkai’s vivid chronicle of Yale’s close-knit circle, of his fraught relationship with the obsessively jealous Charlie, and his pursuit of a potentially career-making donation for the university art gallery where he works in development. Fiona’s opaque feelings of guilt and regret as she searches for her estranged daughter, Claire, aren’t as engaging at first, but the 2015 narrative slowly unfolds to connect with the ordeals of Yale and his friends until we see that Fiona too is a traumatized survivor of the epidemic, bereft of her brother and so many other people she loved, to her lasting damage. As Makkai acknowledges in an author’s note, when a heterosexual woman writes a novel about AIDS, some may feel she has crossed “the line between allyship and appropriation.” On the contrary, her rich portraits of an array of big personalities and her affecting depiction of random, horrific death faced with varying degrees of gallantry make this tender, keening novel an impressive act of imaginative empathy.
As compulsively readable as it is thoughtful and moving: an unbeatable fictional combination.Pub Date: June 19, 2018
ISBN: 978-0-7352-2352-3
Page Count: 432
Publisher: Viking
Review Posted Online: March 19, 2018
Kirkus Reviews Issue: April 1, 2018
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
PROFILES
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
The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.
Pub Date: Sept. 16, 1992
ISBN: 1400031702
Page Count: 592
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1992
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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