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The Almost Moon
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Better Together
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Editorial Reviews
From Publishers Weekly
Sebold's disappointing second novel (after much-lauded The Lovely Bones) opens with the narrator's statement that she has killed her mother. Helen Knightly, herself the mother of two daughters and an art class model old enough to be the mother of the students who sketch her nude figure, is the dutiful but resentful caretaker for her senile 88-year-old mother, Clair. One day, traumatized by the stink of Clair's voided bowels and determined to bathe her, Helen succumbs to a life-long dream and smothers Clair, who had sucked the life out of [Helen] day by day, year by year. After dragging Clair's corpse into the cellar and phoning her ex-husband to confess her crime, Helen has sex with her best friend's 30-year-old blond-god doofus son. Jumping between past and present, Sebold reveals the family's fractured past (insane, agoraphobic mother; tormented father, dead by suicide) and creates a portrait of Clair that resembles Sebold's own mother as portrayed in her memoir, Lucky. While Helen has clearly suffered at her mother's hands, the matricide is woefully contrived, and Helen's handling of the body and her subsequent actions seem almost slapstick. Sebold can write, that's clear, but her sophomore effort is not in line with her talent. (Oct.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Bookmarks Magazine
Since Alice Sebold’s The Lovely Bones (****1/2 Nov/Dec 2002) was a runaway hit, critics inevitably compared that poignant tale of a murdered teenage girl to this long-awaited, brooding account of a woman pushed to tragic extremes. Some critics praised Sebold’s evocative writing and bleak depiction of family relationships in the shadow of mental illness, but the majority of critics complained that the characters were wholly unsympathetic, their decisions and actions incomprehensible, and the plot implausible. Some of the discord may result from Moon’s ugly subject matter and the natural compassion elicited by the young murder victim in The Lovely Bones (as opposed to the cold-blooded Helen). Sebold’s fans may want to skip this one.
Sebold's disappointing second novel (after much-lauded The Lovely Bones) opens with the narrator's statement that she has killed her mother. Helen Knightly, herself the mother of two daughters and an art class model old enough to be the mother of the students who sketch her nude figure, is the dutiful but resentful caretaker for her senile 88-year-old mother, Clair. One day, traumatized by the stink of Clair's voided bowels and determined to bathe her, Helen succumbs to a life-long dream and smothers Clair, who had sucked the life out of [Helen] day by day, year by year. After dragging Clair's corpse into the cellar and phoning her ex-husband to confess her crime, Helen has sex with her best friend's 30-year-old blond-god doofus son. Jumping between past and present, Sebold reveals the family's fractured past (insane, agoraphobic mother; tormented father, dead by suicide) and creates a portrait of Clair that resembles Sebold's own mother as portrayed in her memoir, Lucky. While Helen has clearly suffered at her mother's hands, the matricide is woefully contrived, and Helen's handling of the body and her subsequent actions seem almost slapstick. Sebold can write, that's clear, but her sophomore effort is not in line with her talent. (Oct.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Bookmarks Magazine
Since Alice Sebold’s The Lovely Bones (****1/2 Nov/Dec 2002) was a runaway hit, critics inevitably compared that poignant tale of a murdered teenage girl to this long-awaited, brooding account of a woman pushed to tragic extremes. Some critics praised Sebold’s evocative writing and bleak depiction of family relationships in the shadow of mental illness, but the majority of critics complained that the characters were wholly unsympathetic, their decisions and actions incomprehensible, and the plot implausible. Some of the discord may result from Moon’s ugly subject matter and the natural compassion elicited by the young murder victim in The Lovely Bones (as opposed to the cold-blooded Helen). Sebold’s fans may want to skip this one.
Copyright © 2004 Phillips & Nelson Media, Inc.
See all Editorial Reviews
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