Beautifully crafted and slyly unsettling.

THE RESISTERS

Subtle dystopian fiction from the author of World and Town (2010).

It’s the not-too-distant future, and the United States has become AutoAmerica. The citizenry has been divided into the Netted and the Surplus. The job of the former is to rule, while the primary function of the latter is to consume. These are new social classes, but, as Grant, the narrator, notes, they look a lot like the old social classes. The Netted are “angelfair.” Grant is “coppertoned,” and his services as a professor are no longer needed. Eleanor, his “spy-eyed” wife, is still practicing law, though, mostly fighting on behalf of the oppressed; when the novel begins, she has just been released from prison. What's most remarkable about the worldbuilding here is that the sense of horror that suffuses so much dystopian fiction is absent. Grant’s tone is wryly matter-of-fact—perhaps because, as a dark-skinned person, he never took the freedoms and opportunities he once had for granted. And, really, the totalitarian country he describes is entirely believable. It’s not the product of a single cataclysmic event. It is, instead, the result of a million seemingly inconsequential actions, the cumulative effect of citizens giving away little pieces of their agency every time they choose convenience over autonomy. But life changes for Grant’s family when the government decides to resurrect the sport of baseball, because it happens that his daughter, Gwen, is a pitching prodigy who has spent her childhood honing her skills in an underground league. Baseball offers a way out and up for Gwen, but she’s not sure that what she would gain is more valuable than what she would have to leave behind. The juxtaposition of America’s pastime and the AI–enabled surveillance state Jen presents here is brilliant. Sports are a classic national obsession as well as an avenue to fame and success for the disenfranchised. In this sense, Gwen’s story feels familiar, and the ease with which the reader identifies with this narrative helps to make everything else about AutoAmerica seem eerily familiar, too. We recognize the world Jen creates because it is, finally, nearly identical to our own.

Beautifully crafted and slyly unsettling.

Pub Date: Feb. 4, 2020

ISBN: 978-0-525-65721-7

Page Count: 320

Publisher: Knopf

Review Posted Online: Nov. 11, 2019

Kirkus Reviews Issue: Dec. 1, 2019

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Finding positivity in negative pregnancy-test results, this depiction of a marriage in crisis is nearly perfect.

ALL YOUR PERFECTS

Named for an imperfectly worded fortune cookie, Hoover's (It Ends with Us, 2016, etc.) latest compares a woman’s relationship with her husband before and after she finds out she’s infertile.

Quinn meets her future husband, Graham, in front of her soon-to-be-ex-fiance’s apartment, where Graham is about to confront him for having an affair with his girlfriend. A few years later, they are happily married but struggling to conceive. The “then and now” format—with alternating chapters moving back and forth in time—allows a hopeful romance to blossom within a dark but relatable dilemma. Back then, Quinn’s bad breakup leads her to the love of her life. In the now, she’s exhausted a laundry list of fertility options, from IVF treatments to adoption, and the silver lining is harder to find. Quinn’s bad relationship with her wealthy mother also prevents her from asking for more money to throw at the problem. But just when Quinn’s narrative starts to sound like she’s writing a long Facebook rant about her struggles, she reveals the larger issue: Ever since she and Graham have been trying to have a baby, intimacy has become a chore, and she doesn’t know how to tell him. Instead, she hopes the contents of a mystery box she’s kept since their wedding day will help her decide their fate. With a few well-timed silences, Hoover turns the fairly common problem of infertility into the more universal problem of poor communication. Graham and Quinn may or may not become parents, but if they don’t talk about their feelings, they won’t remain a couple, either.

Finding positivity in negative pregnancy-test results, this depiction of a marriage in crisis is nearly perfect.

Pub Date: July 17, 2018

ISBN: 978-1-5011-7159-8

Page Count: 320

Publisher: Atria

Review Posted Online: May 1, 2018

Kirkus Reviews Issue: May 15, 2018

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Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

THEN SHE WAS GONE

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. 6, 2018

Kirkus Reviews Issue: Feb. 15, 2018

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