This is a complicated book. Its central character is 14 and has that bouncy back-and-forthness of wisdom and childhood coming out in lovely sentences like “That’s what being shy feels like. Like my skin is too thin, the light too bright. Like the best place I could possibly be is in a tunnel far under the cool, dark earth.”
The book is about June, her older sister Greta, their late Uncle Finn, and Finn’s partner Toby. Finn is June and Greta’s mother’s brother, and both adults are talented artists. But one is doing taxes and one is dying of AIDS. Like I said, it’s complicated.
The writing is beautiful. Some of the main points are kind of unbelievable–like two girls from Westchester can get up in the middle of the night and drive to Bellevue without their parents noticing, etc. But overall the emotional range of the characters and the plot driven by their needs, angers, and hopes holds up well. Everybody wants something. Not everybody can say what they want, or why they don’t want some of their other family members not to get what they want. That’s the point around which the action rotates.
If you like character-driven drama, you will love this book. If you remember ’80s AIDS–ignoring, exploring, deploring–you will love this book. If you have no patience with unresolved plot points, you might not. There are some loose threads left dangling, but as Stephen King says, “Life has a lot of those. Why shouldn’t writing?”
The weirdest part for me, but the part that many reviewers liked the most, is how the sisters used a painting their uncle had done of them to communicate with each other. Worth a lot on the art market, the girls deface it to send coded messages when words fail them. It was an intriguing take on the art book genre.
Overall, I love the way Brunt writes, and how intensely she draws her main characters. One paintbrush up for TELL THE WOLVES I’M HOME.
Wendy Welch: Books, Yarn, Cats, Opioids 