Lydia
A Novel
-
- $21.99
-
- $21.99
Publisher Description
LYDIA, Tim Sandlin's acclaimed return to his GroVont characters, was called "Uplifting...immensely satisfying" by the New York Times Book Review and a "gem of a novel as audacious as it is sentimental" in a starred Booklist review.
Managing the Virgin Birth Home for Unwed Mothers means the women in Sam Callahan's life keep his world interesting. But it's his family members that really take the cake. His daughter may be having a nervous breakdown, and his mother's just out of prison for attempting to poison the president's dog. And when they hit the road with a geriatric, an adoptive son trying to discover his parentage, and an enraged psychopath on their tails, all hell may break loose. And you thought your family was strange...
Fifteen years ago, Tim Sandlin concluded his "GroVont" trilogy, a string of books that included a New York Times Notable Book and earned such accolades as "funny and compelling" (LA Times), "zany" (Cosmo), and "dazzling and moving" (New York Times). But some characters call a writer back.
Welcome to the ribald, rollicking, and sometimes peculiar world of Tim Sandlin's GroVont, Wyoming, where family is always paramount, no matter how strange.
PUBLISHERS WEEKLY
Picking up the characters from his GroVant trilogy, published 15 years ago, Sandlin returns to the small Wyoming town where it all began. Newbies can quickly get up to speed on the major players despite the convoluted plot: narrator Sam Callahan; his aimless adult daughter, Shannon; and his mother, Lydia, recently released from prison after a long-ago attempt to poison Ronald Reagan's dog. Lydia's parole requires writing the life story of centenarian Oly Pedersen, but then she hatches a scheme for a road trip to California (taking along Oly) so Roger, a young man unofficially adopted by Sam, might discover his origins. Meanwhile, the terrifying Leroy, who dumped Roger off on friends years ago, is hunting him now, believing Roger must die for the universe to achieve balance. The story itself fails to live up to Sandlin's quirky, colorful characters: Oly's pretend catatonia; Sam's star-worship of Roger's possible father, who wrote Yeast Infection; Lydia's conniving self-absorption; Shannon's bizarre ideas on seduction. And a dissonant tonality develops as a result of all the "zany" juxtaposed against Oly's serious narrative, whether true, or, as Lydia believes, concocted. More troubling, though, is the first-person POV that continually takes the reader out of the narrative flow. So much of the story occurs without Sam's attendance that confusion reigns; how can he possibly know what everyone's doing?
