Everything that her readers, the National Book Award committee, and the Pulitzer Prize judges love about McDermott’s...

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THE NINTH HOUR

In Brooklyn in the early 20th century, The Little Nursing Sisters of the Sick Poor are intimately involved in the lives of their community.

When a depressed young man with a pregnant wife turns on the gas in his apartment and takes his own life, among the first to arrive on the scene is an elderly nun. “It was Sister St. Savior’s vocation to enter the homes of strangers, mostly the sick and the elderly, to breeze into their apartments and to sail comfortably through their rooms, to open their linen closets or china cabinets or bureau drawers—to peer into their toilets or the soiled handkerchiefs clutched in their hands.” By the time the fatherless baby is born, St. Savior will have been so instrumental in the fate of the young widow that the baby will be her namesake, called Sally for short. Sally will be largely raised in the convent, where her mother has been given a job helping out with laundry. The nuns also find a friend for the new mother—a neighbor with a houseful of babies—then they finagle a baby carriage, and “the two young mothers negotiated the crowded streets like impatient empresses.” This desperately needed and highly successful friendship is just the beginning of the benign interference of the Sisters in the private lives and fates of their civilian neighbors. Partly told by a voice from the future who drops tantalizing hints about what’s to come—for example, a marriage between the occupants of the baby carriages—this novel reveals its ideas about love and morality through the history of three generations, finding them in their kitchens, sickbeds, train compartments, love nests, and basement laundry rooms.

Everything that her readers, the National Book Award committee, and the Pulitzer Prize judges love about McDermott’s (Someone, 2013, etc.) stories of Irish-Catholic American life is back in her eighth novel.

Pub Date: Sept. 19, 2017

ISBN: 978-0-374-28014-7

Page Count: 256

Publisher: Farrar, Straus and Giroux

Review Posted Online: June 6, 2017

Kirkus Reviews Issue: June 15, 2017

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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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A heartfelt novel that celebrates its implausibility with a unique joie de vivre.

OONA OUT OF ORDER

What would you say to your younger self if you could give her advice?

“Wise beyond their years” is an expression we’ve all heard before. But for one Brooklyn teen, that saying becomes all too real when an unexplained event causes her to begin living her adult life in random order. On New Year’s Eve 1982, Oona Lockhart is about to turn 19. Change is on the horizon, as she must decide whether to leave school to tour with her band, Early Dawning, or quit the band to continue her studies in London. Does she follow her loving boyfriend and band mate, Dale, or does she make a stable, independent decision for herself? Almost as if standing on a precipice between past and future, Oona finds it important to tell herself: “Remember this party. Every second of it. Every person here.” When the clock strikes midnight, she opens her eyes to a reality far different from the one she'd been experiencing—and decades later. The abrupt shift sets the pace for the rest of the book—it turns out that even when you’re living life out of order, time passes just as quickly. Right as you settle in with one version of Oona, whether it be free-spirited, club-going Oona or middle-aged investor Oona, it’s almost New Year’s again. The effect is something like narrative jet lag, making it impossible to feel grounded in time. Which is, no doubt, the point. Montimore (Asleep From Day, 2018) is not afraid to wrench Oona from one season of life to another, satisfied with ending a year in a fashion as incomplete as this: “She didn’t get a chance to finish her sentence.” These vignettes, removed from linear neatness, celebrate the unpredictability and imperfect nature of life. Even when Oona has the opportunity to leave notes for the next version of herself, it doesn’t always mean she’ll follow her advice. With each temporal shift, Oona is left longing for what came before, but supporting characters like Oona’s mom, Madeleine, and confidante, Kenzie, serve as talismans that guide her back to the present. In the end, we must give credit to Oona for finding joy and even humor in her situation and to Montimore for developing a complex narrative held together by simple truths. Read this to get a bit lost, to root for a character with a strong love for herself, and to connect on a deeply human level with the fear of leading an incomplete life.

A heartfelt novel that celebrates its implausibility with a unique joie de vivre.

Pub Date: Feb. 25, 2020

ISBN: 978-1-250-23660-9

Page Count: 352

Publisher: Flatiron Books

Review Posted Online: Nov. 10, 2019

Kirkus Reviews Issue: Dec. 1, 2019

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