One thing you can say about Kevin Wilson's work is that it is never boring. It is also always quirky/weird while at the same time deeply caring about the characters. Always strangeness in the plots--the spontaneous combustion of children, who then immediately regenerate, as if nothing happens, in Nothing to See Here, comes to mind--but always some significant change happens with the mc.
In this one a woman, Mad(eline) running a Tennessee chicken farm with her mom, is visited by a guy, Ruben (in a PT Cruiser, played for laughs throughout) who lives in Boston and writes mystery novels. He finds that the two of them are sibs of a man who abandoned them and their mothers, and oh, yeah, there are at least two other abandoned families across the country. So of course they go on a road trip to find the other two half-sibs and maybe Daddy Dearest. Another road trip book, which is the way we can justify lots of talking and storytelling, of course (I just read another road trip book, Eurotrash).
Unrealistic, you say? Wilson never seems to want to have us live in the "real" world but in some place in between what we know and what might be possible. It's like fantasy, or irrealism, of sorts. In some ways the books play like straight-up domestic comedies, but then you meet four different sibs who seem to have the same, but dramatically reinventing, father who sired them in four different parts of the country. Then you assume they all want to see Deadbeat Dad?!
Instead of dystopian realism, the worst case scenario, we have a world like that of the film Lars and the Real Girl, where people are nicer, kinder, than we could reasonably expect people to be. Moving stories that give you hope.
Mad, when she is initially asked questions by her half-bro Ruben, usually answers "yes and no." Are you the daughter of x? Yes and no. Were you born on June 21? Yes and no, as she was born at midnight. And so on. So why does identity have to be one thing? Also probably true of Dad, who seems to reinvent himself as a person in each new "stage" of being/parenting. Configurations of identity, and family, have myriad possibilities, but it’s not sappy, it's goofy/heartfelt.
Near the end, one of the sibs suggests that the story they have been creating (with Wilson's help!) is a bit like Wizard of Oz. They have been on a quest, and at the end of the quest, they hopefully have been (or impossibly, if you are a cynic?) transformed. I say we want to believe this goodness could be true!. The Road beckons and truth calls back!
Again, as even Mad admits, it never felt quite real, but then they are home, and they have established this improbable, unconventional--"it's complicated"--family. Family. That's th main thing Wilson is about her. We can do this family thing, he cheerleads! There's no place like home, there's no place like home, click your heels together and you are home, and everything is somehow better. Four Dorothys and a Wizard-Dad. Unreal? Okay, fine. But we want these kinds of stories sometimes, and need them. I think especially adopted kids that find their biological parents might like this story.
PS: The title, eh. Run for the Hills? It's a bad pun, as Daddy was named Hills.