Alam captures something truthful and essential about the push-pull of friendship—the desire for closeness as well as the...
This debut novel about two close childhood pals trying to maintain a friendship as their adult paths gradually diverge has an amiable familiarity.
Lauren and Sarah have been BFFs since sixth grade, when Lauren, an 11-year-old from a middle-class New Jersey family, snagged a scholarship to a fancy private school in Manhattan and was immediately befriended by popular Sarah, her ambassador to the world of the wealthy. Sarah is rich. Lauren is pretty. Sarah volunteers for worthy projects and works part time in a charity thrift store, goes to the gym, lunches with friends, has Sunday night dinner with her conservative political adviser father and her mother, a retired singer of moderate renown, in their large, eclectically elegant home. Lauren lives in a tiny yet stylish Brooklyn apartment and ekes out a modest living in book publishing, slowly climbing the editorial ladder and, for a while anyway, bedding the temp. Sarah lives in a Manhattan two-bedroom with a foyer, a separate kitchen and ample closet space (ah, fiction) and is busily planning her wedding to her doctor fiance—trying on dresses, sampling slices of cake. Lauren, her maid of honor, is uninterested in committing to a romantic relationship and not above a casual tryst with, say, a waiter at a resort hotel during Sarah’s pre-wedding girlfriend getaway. These women still understand each other in a way no one else may, but they’ve drifted apart since the days of middle school sleepovers, high school and college parties, and a stint as post-college roomies. “Things change, in life—of course they do,” Alam writes, of Sarah’s perspective. “People grow up, become interested in new things, new people. Our way of being in the world is probably a lot less fixed than most people think. But Lauren is a part of her world, and she’s a part of Lauren’s.” Lauren, though, wonders if her friendship with Sarah has survived solely by “force of habit.” Although Alam seems to have no deep new insight to share and his story is thin on plot, his characters are real and rounded enough to escape being entirely cliché, and he displays a robust understanding of and affection for the nuances of female friendships as they evolve over time.
Alam captures something truthful and essential about the push-pull of friendship—the desire for closeness as well as the space to define ourselves—and admirably resists the urge to look down on his characters.Pub Date: June 7, 2016
ISBN: 978-0-06-242993-3
Page Count: 304
Publisher: Ecco/HarperCollins
Review Posted Online: March 14, 2016
Kirkus Reviews Issue: April 1, 2016
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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