Martha Waters spans three genres here: historical romance, rom-com, and satire. I like satire, and the other two, not so much. I am rounding my rating up to three stars, because I stepped out of my comfort zone with this novel, hoping for light entertainment; those that enjoy rom-com books may be more enthusiastic than I. My thanks go to Net Galley and Simon and Schuster for the review copy. This book is for sale now.
Lady Violet and Lord James found instant chemistry at a grand ball. Almost as instantly, they were married; then they quarreled and have been estranged ever since. Yet even the stupidest and most imperceptive reader will see that they are still crazy for one another. If one is in doubt, turn the page so the author can hit you over the head with it again. Again. And again.
I enjoy smart satire that leaves something to the imagination. This book tries too hard to be funny. I tried reading the DRC, and when I couldn’t get through it, I checked out the audio version from Seattle Bibliocommons. This made it, if possible, even worse. Overdone prose is made worse by an over-the-top voice actor.
I had been reading too much that was dark and serious, and then the pandemic broke out and I went looking for relief. I found it, but I didn’t find it here.
But again, I have never liked rom-com. If that’s your wheelhouse, you may appreciate this thing more than I do. I pushed through to the forty percent mark; my usual due diligence requires me, if skipping, to then proceed to the eighty percent mark and see if there are joyful surprises that might change my mind. But no.
Fans of the genre may feel differently, but I have to call them as I see them. Not recommended.
Becky Mandelbaum is the real deal. In 2016 she published a short story collection, Bad Kansas, which I read and loved. ( You can find my review of it here: https://seattlebookmamablog.org/2017/09/15/bad-kansas-by-becky-mandelbaum/) And so when I found this debut novel on Net Galley, I leapt at the chance to read and review it. Big thanks to Net Galley, and to Simon and Schuster. This book will be available to the public August 4, 2020.
Ariel and her mother, Mona have been estranged for six years. But when she finds a news item about her mother’s sanctuary having been torched, Ariel knows it’s time to go home, to see what has been lost and what can be saved.
The story is told from the third person omniscient, and we hear from three characters mostly. We start with Mona, whose stress levels have become nearly unbearable. She’s getting too old to do so much work, and she never has enough money. She has just one employee, working on site primarily for room and board. Perhaps this is part of what possesses her when she leaps in her truck in the dead of night to steal the neighbor’s Make America Great Again sign. She wrestles the great big thing into the bed of her pickup, and by now we can see that she is a tightly wound person whose impulse control is just a tiny fraction of what it should be.
Meanwhile, Ariel is concerned, not only about the fire, the sanctuary, and her mother, but also about her relationship. Her boyfriend, Dex—the third of the characters we hear from most– proposes just as she has begun to fantasize about ending the relationship. As the story progresses, we can see that Ariel is the sort of person that runs from her problems, sometimes literally. She accepts the ring and then says she has to go home for the weekend, and no, he shouldn’t come with her. After all, she’ll be right back. Probably.
Mandelbaum does a brilliant job of building believable, nuanced characters and complicated relationships. Five percent of the way into my galley, my notes say, “This one is going to be a thinker.” And it is, in the best sense of the word. It isn’t a pretentious piece of writing by a long shot, and it isn’t full of florid descriptions or challenging vocabulary. Instead, we have characters that are dealing with thorny personal issues that have no obvious solutions. And my favorite aspect of it is the way the mother-daughter relationship, which is the heart of the novel, is framed. Mona has made a lot of mistakes in parenting Ariel, but she loves her daughter and is a good person. Ariel is still learning how to solve problems herself. There’s a trend in fiction writing right now to draw villainous mothers as the sources of protagonists’ problems. It’s close to becoming a cliché. Mandelbaum has steered clear of this canard and created something much deeper and more interesting. In fact, there are at least half a dozen stereotypes that she has dodged expertly. The fact that she has done this in her debut novel suggests that a great career is ahead of her.
I love the way she ends this story.
Don’t deprive yourself of this glorious novel. Highly recommended.
Firewatching is the first in the Adam Tyler detective series, and also the first novel written by Russ Thomas. It’s been praised by Lee Child, and published by Putnam Penguin, an auspicious sign. Thanks go to the publisher and Net Galley for the review copy.
All of the right elements are here for a rip roaringly great tale, but the execution fell short. When I found myself drifting off while reading the digital review copy, I went to Seattle Bibliocommons and checked out the audio book. Sadly, I couldn’t bring myself to listen to all of it, either. I kept with it to the 45 percent mark; skipped to 75 percent in hopes there would be something tantalizing that would reel me back in; and when that didn’t work out, I listened to snippets from there to the end.
Here’s what I like. Conceptually, it sounds promising. Tales of crazed arsonists are generally irresistible, and there haven’t been a lot of them published lately. Fiction writing is as prone to fad and whim as is anything else, as any reviewer can see. This story steers clear of dead, sick, or disabled siblings; Paris; alternate past and present narratives, and struggling alcoholic detectives. Detective Tyler resists his boss’s impulse toward stereotypes. There are two elderly women side characters, one of whom struggles with dementia, and Tyler is told that old women in small towns always love gossip; he refers to them often as “the old dears.” I know I am not the only Boomer that wants to smack that obnoxious character, and so Tyler endears himself to me by not going there. And actually, I like the two older women in this story a great deal. I also like the brief—maybe too brief—passages where we are inside the head of the firebug.
But alas, the story’s protagonist isn’t the arsonist, and it isn’t either of the elderly women. It’s Tyler, and Tyler just bores the snot out of me. I want him to just do something. I don’t need to know what he is wearing, what he is thinking, what he is feeling, wearing, feeling some more, thinking….
During my teaching career, I recall one impatient girl that was sent home for a few days because of her tendency to walk up to a teacher that was standing in her way—tutoring, or speaking to another student—and barking at him, “MOVE!” And I found myself channeling this student as I read and/or listened to this story. I don’t care about your damn wardrobe, Tyler, just move! Move it! Do something, for the love of…
A possible silver lining occurs to me, and that is that with this first in a series, all of the personal details of wardrobe and emotion may be emphasized in order to introduce the protagonist, and perhaps with the second in the series, the pace will pick up and we’ll be on our way. I surely hope so.
But for now, I can only write about what I know, and I know it would be wrong of me to urge you to purchase this book at full jacket price. If you’re going to read it, get it cheap or free, because most of the joy I see here is in potential, and future maybe-joy makes a thin soup indeed.
By now, nearly everyone that loves reading has heard of this debut novel by one of the century’s most celebrated writers. Not every strong journalist can also write fiction, but Coates can. I read it free and early thanks to Net Galley and Random House. It’s for sale now.
The concept is a strong one. Why have we seen so little historical fiction set during the period just before the American Civil War and from the point of view of a slave? In an earlier essay Coates has pointed out that African-Americans need to reclaim this time period, that shrinking back from studying it is in a way a concession that shouldn’t be given. That’s the perspective on which this novel is built. It isn’t an easy read by any means; readers need strong literacy skills and a cast iron gut. The level of pain and violence—especially at the outset—is wrenching, and it should be. I took a long time to read this book because I could only swallow it in small portions. You may not want it for mealtime or bedtime reading.
Our protagonist is Hiram Walker, and he is the progeny of an enslaved mother and the plantation’s owner. Hiram is strong, capable, and attractive. When his father pulls him from the “tasked” and brings him home, other slaves warn him to be on his guard; he will never be considered a full member of this family, and he’ll never be considered an equal with Maynard, his Caucasian half-brother whose work ethic, talent, and intelligence could fit together in a thimble with room to spare. Hiram is assigned to prevent Maynard from going off the rails; however, since the authority runs in the opposite direction, Hiram is ultimately unable to save Maynard, who drowns after overindulging.
Hiram has an unusual gift, a supernatural talent that lends interest to the story without becoming its central focus.
Ultimately our protagonist is going to have to run for his freedom. During the years just before the Civil War, owners of large plantations in Virginia and the Carolinas find themselves in desperate straits. The land has been badly over farmed, and both cotton and tobacco are demanding crops. The soil is used up; farmland that once produced bountifully is no longer productive. The solution that most of the large owners seize is to expand their holdings westward. Vast numbers of slaves are either sold and sent to the deep South “Natchez Way” or moved there to work for the same owner on different land. Those that go are treated severely, and their families are fragmented without a moment’s hesitation. While some slaves were able to negotiate for their own manumission in earlier years, this option is no longer on the table. Coates does a stellar job keeping this aspect of his story consistent with historical fact.
Hiram’s escape is ultimately successful after a number of nightmarish experiences, but he is persuaded to return and to assist in the Underground Railroad, and he does so partly with the goal of freeing those that mean the most to him. Along the way he meets Harriet Tubman, and the way Coates depicts her is credible and fascinating. But the thing I love most, apart from the story’s basis and the eloquent word-smithery that shines here and there, is the way Coates condemns the hypocrisy, the culture of the slaveowner that makes the most horrible men able to look at themselves in the mirror and like what they see:
For it is not simply that you are captured by slavery, but by a kind of fraud, which paints its executors as guardians at the gate, staving off African savagery, when it is they themselves who are savages, who are Mordred, who are the Dragon, in Camelot’s clothes. And at that moment of revelation, of understanding, running is not a thought, not even as a dream, but a need, no different than the need to flee a burning house.
My one concern is with the dialogue. This historical tale will spin along beautifully, but then one person will tell another, “Trust me on that,” or “Sounds like a piece of work to me,” and the effect this has on me as a reader is that the spell is broken, and I am no longer transported to the time and place of the story. And to be sure, everyone that writes historical fiction has to decide how much language of the period to use, and when to use current grammar and sentence composition so that the modern reader can follow it. But this is something that jumps out at me at the beginning, in the middle, and even at the end. I tell myself to forget about it and I immerse myself in the story once more, but then there it is again. No other reviewers seem to have noted this, but a part of me thinks that the braver course would have been for Coates to write this story under a pseudonym, because I suspect that without the famous name attached to it, more genuine criticism about this single, pervasive glitch would have been forthcoming.
Be that as it may, this is one hell of a fine story, and it’s told just when readers need to see it most. I recommend it to you without reservation.
I have been a Sophie Littlefield fan since A Bad Day for Sorry came out ten years
ago; That’s What Frenemies Are For is
co-written by Littlefield and new author Lauren Gershell. Is Littlefield Gershell’s mentor? If so, she
has created a literary monster.
My thanks go to Ballantine and Net Galley for the review
copy. I rate this book 3.5 stars, rounded up.
Socialite Julia Summers is a stay-home mom with a nanny; her
real avocation is in keeping up appearances. What would look better–build
Julia’s brand, if you will–than for her to take the Nobody that teaches her spin
class and turn her into a Somebody? Just
think how impressed the other moms will be!
But fitness instructor Tatum turns out to be more than Julia has
reckoned for. This is wickedly funny satire, full of sass and snark that made
me guffaw out loud in places.
The fun at the outset is in watching to see where Julia’s
dominoes will begin to fall. There are at least a dozen teasers planted as it moves
along, places where I see her do something so risky that it almost has to
backfire. The greatest surprise for me is in seeing how my own attitude toward
this entitled protagonist changes. At the start I cannot wait to see someone
knock her off of her high horse, but I also can’t help but engage with this
character, and as she confides in the reader through an intimate first person
narrative, I find myself rooting for her in spite of everything. It’s
The resolution isn’t as satisfying as it could be. It’s a
bit like getting to the highest spot on the rollercoaster and having the ride
stop so you can get off and take the elevator down to safety. Watch your step,
folks. Stay behind the guardrail as you exit the cars.
Nevertheless, I found myself thoroughly engrossed for the
first eighty percent , and the rest isn’t bad. Gershell is a writer to watch.
If you have a vacation coming up, toss this in your bag. It’s
for sale now.
Deb Spera is a force; small wonder that Call Your Daughter Home is the book that bloggers have been talking
about. This barn burner of a debut goes on sale today. My thanks go to Net Galley and Harlequin for
the review copy. It curled its fingers
around me on page one, and by page ten I knew it wouldn’t let me go till it was
done with me. It ended as powerfully as it began.
The year is 1924. Gertrude Pardee lives with her four little
girls in a shack in the swamp in Third World conditions; they are nearly feral.
A storm is coming, but Gert has a job to do. Her brutal ass hat of a husband
lies dead in the swamp, dispatched by the bullet she blasted into his brainpan.
As the storm bears down, she peels off her only dress and strides naked into
the muck to deal with his corpse:
“Alligators feed once a week, and sometimes, if the prey is big enough, they don’t need to eat for almost a year. But I don’t know how long it takes a gator to eat big prey. Daddy never said nothing ‘bout that and I never asked.”
Our other two main characters are Retta, the first free
woman in her family, and Annie, Retta’s employer. Retta cares for Mary, Gert’s
youngest, when Gert is too sick and injured from the broken face she sustained
the last time Alvin beat her; Retta’s husband Odell and her neighbors all tell
her that it’s trouble to bring a white child into Shake Rag. “Don’t get messed
up with that white family. No good can come of it,” and she knows it’s true.
What if the girl dies? But Gert coaxed her into it, telling her it would be the
Christian thing to do, and Retta is moved by this sick, helpless five year old.
She assures everyone it’s just for three days.
Miss Annie is a Caucasian small businesswoman and wife of a
farmer, yet she has trouble of her own; there’s some dark family baggage she’s
been avoiding for a good, long while. As the storm bears down, evidence comes
to light and she is forced to see it. Not one of us would want to be Miss Annie;
Spera weaves a captivating tale, and we see the world from
the disparate points of view of all three women, each of them told alternately
in a first person narrative, and we’re also told how they see each other. The
setting is dead accurate, brooding and thick with dread, and it scaffolds the
development of each character more capably than anything I have read recently.
It is Retta that tells us that as we give birth, we must call
out to our child so that “whichever soul is at the gate will come through.” She
called out to her girl as she birthed her, but now she is gone. In fact, each
of these three women has lost a daughter, and this provides the central theme
of the story.
Feminists and those that love Southern fiction have to get
this book and read it. There’s nothing like it. Do it.
Kya Clark lives with her family in a shack deep in a North Carolina marsh. The year is 1969. They are miserably poor, but Kya’s mother tells her it will be alright, as long as the women of the family stick together. But then one day, she leaves. Older brother Jodie tells Kya that Ma will be back, because it isn’t in a mother to leave her children, but Kya isn’t so sure. Ma is wearing her alligator heels, and she doesn’t turn midway and wave like she always has. And one by one, everyone in her family leaves, and they don’t return. Kya is not even old enough to enter first grade, and she is alone.
This haunting novel is the best surprise of the summer, and it’s for sale today. Thanks go to Net Galley and Putnam Penguin for the review copy.
Owens is a wildlife scientist of some renown; here she changes lanes with her debut novel. She uses her knowledge base to create an evocative setting that is real and immediate, but she never adds scientific information at the expense of pacing. Instead, the setting is used to reinforce Kya’s character; this is unusual in a researcher turning toward fiction writing. Professors and other specialists tend to shoehorn in every fact that they think the reader ought to know regardless of what it does to the flow of the narrative. Instead, Owens blends setting and character seamlessly, spooling Kya’s life before us with the patience and discipline of the finest master storyteller.
Kya barely survives, digging mussels to eat and selling them at a waterside convenience store owned by an African-American entrepreneur known as Jumpin’. Little by little, Jumpin’ comes to realize exactly how dire this child’s situation is, and he and his “good sized” wife, Mabel, contrive to provide her with a few of life’s necessities without frightening her or hurting her pride. I would have preferred to see these resonant characters voiced without the written dialect, but there are no stereotypes in this book.
Tate is an older boy that has been a family friend since she was tiny, but she doesn’t remember him, and thinks she is meeting him for the first time after he begins leaving her beautiful bird feathers on a stump in the swamp. It is he that teaches Kya to read, and he becomes her first love.
The narrative shifts between Kya’s life and an investigation of a murder. Chase Andrews, a local football hero and the son of a local bigwig, is found dead at the base of a nearby water tower. Kya, who is poorly groomed, impoverished, and has no family to protect her becomes the focus of the investigation. Townspeople have long considered her to be “swamp trash,” and this discrimination is age old; Kya can remember her mother telling her that she must never run when she goes into town, because if she does someone will say that she stole something.
One of the most appealing aspects of this novel is that the mystery of Chase’s death never eclipses the main story. The book isn’t about Chase or his demise; it’s about Kya in the marsh, and as she becomes an official suspect, we only want what is best for her.
I read several stories at a time, now that I am retired, but this is the one that occupied my thoughts when I was doing other things. I kept thinking about that poor little girl out there. I can almost always put a book down; it’s what I do, after all. This one is exceptional.
Those that love excellent literary fiction; Southern fiction; or romance need to get this book and read it, even If you have to pay full jacket price.
3.5 stars rounded up. My thanks go to Simon and Schuster and Net Galley for inviting me to read and review this charming debut. This book is for sale now.
Kate is a journalist, painfully shy, anxious, and lonely. Rosemary is an elderly widow. When the Lido—which I learned is an open air swimming pool—in Brixton is slated to close, Rosemary is up in arms. She isn’t usually an activist, but she has swum in this pool her entire life, and many of the most memorable events she has experienced took place there. She loves it still, and she cannot abide the fact that the lido is being sold to private developers who want to put up “swish new high rises.” Rumor has it that it won’t even remain a swimming pool; they may pave it over and put in tennis courts. Rich folks love tennis.
Kate smells a story, and she wants to interview Rosemary. Rosemary makes a counteroffer: she’ll do the interview only after Kate has swum at the Lido.
For Kate, this is traumatic. She isn’t crazy about her own body, and the thought of disrobing in front of others in a locker room nearly undoes her. But she swims, and she gets her interview. Over the course of the fight to save the lido, which Kate joins, she and Rosemary become good friends, and Kate’s own life blossoms. At the same time, there’s a bit of history here as we wander back in time with Rosemary to the war years when she met her husband, George.
The text has a soothing quality that you don’t see much of anymore. It’s not a page turner, and gets a bit slow in places, but sometimes a more sedate pace is what’s needed. I found it good bedtime reading, because it helped me unwind. My feminist heart is cheered by a story in which both main characters are female, and neither of them fits the tiny-but-fierce model that so many writers seem to favor. Kate is awkward. Rosemary is a fat old granny. Oh hell yes. Both are white women; there is a side character named Ahmed, but those looking for a truly diverse bit of fiction will have to look elsewhere.
Some readers are disturbed by blue language and sex scenes. Though the story isn’t entirely devoid of these, there’s very little of it. The text is accessible to anyone with a high school education.
There are moments where the sweetness goes over the top. I gagged when the Brownie troop joined the protest to save the pool, and I wondered how Rosemary could have dozens of sweet memories of George and not even a single resentful or ambiguous one. But these are relatively small concerns.
For those looking for a feel good story, this book is recommended.
Markley’s thunderous debut is not to be missed. My thanks go to Simon and Schuster and Net Galley for the review copy, which I read free and early, but this is one of the rare times I can say that if I’d paid full hardcover price, it would have been worth it. This is the summer’s best fiction, and it’s available to the public August 21, 2018.
Our story is broken into a prelude and four additional parts, each assigned to a different protagonist, all of whom knew one another, traveling separately from four different directions; they were born during the great recession of the 1980s and graduated from New Canaan High in 2002, the first class to graduate after 9/11. We open with the funeral parade held for Rick Brinklan, the former football star killed in Iraq. His coffin is rented from Walmart and he isn’t in it; wind tears the flag off it and sends it out of reach to snag in the trees. The mood is set: each has returned to their tiny, depressed home town, New Canaan, Ohio, for a different purpose. The town and its population has been devastated economically by the failure of the auto industry:
“New Canaan had this look, like a magazine after it’s tossed on the fire, the way the pages blacken and curl as they begin to burn, but just before the flames take over.”
At the mention of football, I groan inwardly, fearing stereotypes of jocks and cheerleaders, but that’s not what happens here. Every character is developed so completely that I feel I would know them on the street; despite the similarity in age and ethnicity among nearly all of them, there is never a moment when I mix them up. And the characters that are remembered by all but are not present are as central to the story as those that are. As in life, there is no character that is completely lovable or benign; yet almost everyone is capable of some goodness and has worthwhile goals.
Families recall the closure of an industrial plant with the same gravity with which one would remember the death of a beloved family member; the loss has been life changing. Residents are reduced to jobs in retail sales and fast food, welfare, the drug trade, and military service due not to legal compulsion, but economic necessity. Everyone has suffered; Walmart alone has grown fatter and richer.
This is an epic story that has it all. We see the slide experienced by many of New Canaan’s own since their idealistic, spirited teenaged selves emerged from high school to a world less welcoming than they anticipated. One of the most poignant moments is an understated one in which Kaylyn dreams of going away to school in Toledo. This reviewer lived in Toledo during the time when these youngsters would have been born, and I am nearly undone by the notion that this place is the focus of one girl’s hopes and dreams, the goal she longs for so achingly that she is almost afraid to think of it lest it be snatched away.
Because much of each character’s internal monologue reaches back to adolescence, we revisit their high school years, but some of one person’s fondest recollections are later brought back in another character’s reminiscence as disappointing, even nightmarish. The tale is haunting in places, hilarious in others, but there is never a moment where the teen angst of the past is permitted to become a soap opera.
Side characters add to the book’s appeal. I love the way academics and teachers are depicted here. There’s also a bizarre yet strangely satisfying bar scene unlike any other.
Those in search of feel-good stories are out of luck here, but those that treasure sterling literary fiction need look no further. Markley has created a masterpiece, and I look forward to seeing what else he has in store for us.