A nuanced exploration of trauma, personal and historical.
An American woman revisits the scene of a traumatic experience she suffered as a teenager in McBride’s novel.
In 1973, a 16-year-old Violet O’Halloran travels from her home in New York City to Northern Ireland with her mother, but the trip is clouded by her grandmother’s unexpected death. Violet’s mother unloads the rebellious teen at St. Dymphna’s, a Catholic boarding school, for the duration. Her sole companion is the only other resident, Indira Sharma, a blind girl who speaks in enigmatic riddles. The pair become fast friends, inseparable as sisters, bonding over their contentious relationships with their mothers and the absences of their dead fathers; their tender connection is delicately drawn by the author in this emotionally haunting work. Indira dies in a drowning accident—Violet nearly dies herself trying to rescue her. It’s a traumatic event she has trouble clearly recollecting, and from which she cannot fully be free. In New York City, 13 years later, Violet meets Emmett Fitzroy, a handsome photographer who grew up near St. Dymphna’s. He invites her to become the temporary caretaker of his family’s home there, a position she accepts, plunging back into memories of her summer there and the “catastrophic land” she cannot help but miss. In this subtle and complex tale, the author explores the possibility that both the proximate and remote past can be mined for lucidity and the idea that the dead can help the living discover an otherwise elusive resolution to emotional conflicts, albeit with great difficulty. (“The Irish say it is only a thin curtain that separates the living from the dead, but they are poets and those are beautiful words. It is a harder partition than that, and more mysterious. There are times when it feels impenetrable.”) McBride’s prose is ruminatively poetic and broodingly searching, and powerfully captures Violet’s distress against the symbolically pregnant backdrop of Northern Ireland’s political tumult. This is a deeply thoughtful work, elegiac and impressively sensitive.
A nuanced exploration of trauma, personal and historical.Pub Date: June 11, 2024
ISBN: 9781963101010
Page Count: 310
Publisher: Green City Books
Review Posted Online: July 31, 2024
Kirkus Reviews Issue: Sept. 15, 2024
Review Program: Kirkus Indie
A tender and moving portrait about the transcendent power of art and friendship.
An artwork’s value grows if you understand the stories of the people who inspired it.
Never in her wildest dreams would foster kid Louisa dream of meeting C. Jat, the famous painter of The One of the Sea, which depicts a group of young teens on a pier on a hot summer’s day. But in Backman’s latest, that’s just what happens—an unexpected (but not unbelievable) set of circumstances causes their paths to collide right before the dying 39-year-old artist’s departure from the world. One of his final acts is to bequeath that painting to Louisa, who has endured a string of violent foster homes since her mother abandoned her as a child. Selling the painting will change her life—but can she do it? Before deciding, she accompanies Ted, one of the artist’s close friends and one of the young teens captured in that celebrated painting, on a train journey to take the artist’s ashes to his hometown. She wants to know all about the painting, which launched Jat’s career at age 14, and the circle of beloved friends who inspired it. The bestselling author of A Man Called Ove (2014) and other novels, Backman gives us a heartwarming story about how these friends, set adrift by the violence and unhappiness of their homes, found each other and created a new definition of family. “You think you’re alone,” one character explains, “but there are others like you, people who stand in front of white walls and blank paper and only see magical things. One day one of them will recognize you and call out: ‘You’re one of us!’” As Ted tells stories about his friends—how Jat doubted his talents but found a champion in fiery Joar, who took on every bully to defend him; how Ali brought an excitement to their circle that was “like a blinding light, like a heart attack”—Louisa recognizes herself as a kindred soul and feels a calling to realize her own artistic gifts. What she decides to do with the painting is part of a caper worthy of the stories that Ted tells her. The novel is humorous, poignant, and always life-affirming, even when describing the bleakness of the teens’ early lives. “Art is a fragile magic, just like love,” as someone tells Louisa, “and that’s humanity’s only defense against death.”
A tender and moving portrait about the transcendent power of art and friendship.Pub Date: May 6, 2025
ISBN: 9781982112820
Page Count: 448
Publisher: Atria
Review Posted Online: July 4, 2025
Kirkus Reviews Issue: Aug. 1, 2025
SEEN & HEARD
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
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