Frustratingly Realistic & Flawed Characters
I don't usually write reviews, but this was such a lovely debut novel that here I am writing one, the morning after I cried my way through the final chapters.
Amy was 18 when she found herself pregnant, just before her parents were set to move from the UK to New Zealand. She writes a letter explaining everything to the baby's father, Chris -- her first serious boyfriend -- but he never answers or comes to find her and the baby in NZ.
Fast-forward 19 years and her daughter, Bea, is traveling abroad when Chris shows up unexpectedly in the cafe Amy owns on the beach in NZ. Amy wrote him off years ago and wants nothing to do with him, but her best friend Shannon points out that she should get some closure and talk things out with him. Not only that, but Amy is torn about what this will mean for Bea, who's never met her father.
The book has shifting narrators -- some chapters are Then (narrated in 3rd person by Amy's self-destructive best friend Olivia) and some are Now (narrated by Amy in the 1st person). I dreaded the Olivia chapters -- she was in a toxic downward spiral during the worst year of her life -- but as the novel went on, it became more and more clear why we needed Olivia's perspective.
Likewise, Amy isn't in a great place either, since the novel literally begins with the sentence, "He's here." These might not be the worst months of Amy's life -- that would be her first year in NZ as she waits for Chris -- but they might be the second-worst, as all the stability she's worked hard to create falls apart around her. It's fortunate that the Olivia chapters show a completely different side of Amy, without the resentment she has toward Chris.
Amy's impulsive and quick to react, fiercely loyal to friends and her found family, and when she feels, she feels fully. These can be positive qualities -- like when college-Amy refuses to give up on Olivia, who clearly needs a friend. But it also drives some of the most frustrating scenes with NZ-Amy.
I was really confused in the first Olivia chapter -- especially given that we'd already met Amy and Chris in chapter 1. Fortunately, I enjoy shifting narrators, particularly when there are gaps to puzzle out. I also admit that I wasn't really committed to any of these characters (or the book itself) until chapter 11, when the first of uncountable misunderstandings becomes clear (although I suspected earlier).
I'm not one for romantic meet-cute novels (or in this case, meet-not-cute), so it's possible the plot didn't feel as obvious to me as it did to some reviewers. I, too, was so frustrated with Amy. Why didn't she just write another letter (or call)? Why is she taking so long to talk the whole thing out with Chris?
If we had reasonable, rational characters, this would have been an extremely boring short story. But we don't -- both narrators are in emotional turmoil and act irrationally because of it. I read this in two nights -- I was really reluctant to put it down the first night and eager to get back to it the next day. But the interval gave me a chance to think through the characters instead of being frustrated with their missteps, and it was the distance I needed to realize that the author had actually done a really good job with the characters' psychology. They could hardly have behaved any differently given their circumstances. Amy (now) is emotionally overwrought at Chris's sudden appearance, and she's had time to build up 19 years of anger and resentment. Olivia (then) is hardly a sympathetic character because her current home life has brought out her self-destructive streak.
The amazing thing (and what brought on the waterworks) was how, by the final chapters, each character redeemed themselves (or turned out not to be the a****le we assumed them to be). The final chapter and epilogue felt anti-climactic as far as the romance aspect goes, but narratively I think anything more would have been a bit boring after the constant drama of all the preceding chapters.
*I received this book for free via Amazon First Reads.
Content Warnings:
-- Sexual encounters (narrative cuts away)
-- Characters whose default curses are f*** and Chr***
-- Gender slurs like sl** and wh**e
-- Mention of abortion (not acted on)
-- Alcoholism
-- Various unhealthy mother-daughter relationships (overly-controlling & emotionally distant; absentee parent; overly-involved & emotionally smothering)
-- NZ & British spelling and vocabulary usage (e.g., bungy, secondment, manoeuvre, sixth form) /s