The Almost Moon
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- $10.99
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- $10.99
Publisher Description
Helen Knightly has spent a lifetime trying to win the love of a mother who had none to spare. And as this electrifying novel opens, she steps over a boundary she never dreamt she would even approach. But while her act is almost unconscious, it also seems like the fulfilment of a lifetime's buried desire. Over the next twenty-four hours, her life rushes in at her as she confronts the choices that have brought her to this crossroads.
'Exhilarating, unforgettable ... This is a remarkable novel in which every word is vital, each nuance felt ... Candid, gut-wrenching, at times horribly funny and often beautifully touching ... The genius which guides The Almost Moon is its absolute, horrible, multiple truths; its staggering clarity' Eileen Battersby, Irish Times
'As moving as it is unquestionably gripping' Observer
'As gripping as it is strange and wild ... My God, it grips ... I lay awake half the night, feverishly hoping both that it would never end, and that it would all be over soon' Rachel Cooke, Evening Standard
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 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.
