Nikki Eaton, single, thirty-one, sexually liberated, and economically self-supporting, has never particularly thought of herself as a daughter. Yet, following the unexpected loss of her mother, she undergoes a remarkable transformation during a tumultuous year that brings stunning horror, sorrow, illumination, wisdom, and even—from an unexpected source—a nurturing love.
New York Times Book Review
Arresting...
Stacey D'Erasmo
With Missing Mom, Oates turns her considerable force on the conundrum of the absence of an ordinary woman, Gwen Eaton, a 56-year-old housewife in Mount Ephraim, N.Y.…and how that absence ripples through the lives around her…Oates's grip on crime, violence and the long-buried is sure, but Missing Mom is actually more disturbing in its relentless, dead-on accretion of small-time, small-town, middle-class details. Oates piles them on with pitiless virtuosity.
The New York Times Book Review
Publishers Weekly
Oates's latest returns to upstate New York's Mount Ephraim, the setting of We Were the Mulvaneys, Oates's 1996 novel-a 2001 Oprah pick-about one family's privilege and decay. This time, Oates turns to the middle class: narrator Nikki Eaton, 31, is a reporter for the smalltown Beacon and her family's black sheep. She's having an affair with a married DJ; she barely tolerates her widowed mother, Gwen, and her homemaker sister, Clare. As the novel opens, Nikki arrives at Gwen's Mother's Day party with newly spiked, "inky-maroon" hair and contempt for Gwen's cooking, one-story house and endless munificence to her ragtag guests. Two days later, Gwen is murdered by an ex-con. Chronicling Nikki's year following Gwen's death, the novel includes some wonderfully precise emotional observations. But more often the prose sags beneath the weight of banal information and a story line too redolent of pulp. Naturally, the "swarthy" police detective investigating Gwen's murder initially seems repulsive, and naturally, in the novel's final pages, Nikki thinks: "I had not noticed in the past how strong his profile was." There are no surprises, that's for sure. And yet the novel is so conventional and relentlessly detailed that it can't help showing its characters behaving in ways that resonate. (Oct.) Copyright 2005 Reed Business Information.
Library Journal
Nicole, 31, is living an extended adolescence, still in rebellion against her parents' suburban middle-class, do-the-right-thing lifestyle. Her father has recently died; her older, domestic diva sister is prone to histrionics. Nicole herself is involved with a married man and does not have a clue how her actions may impact other people. Everything changes in an instant when Nicole's mother, Gwen, dies in a violent assault. After the ensuing investigations and memorials, everyone is surprised when Nicole steps into her mother's shoes and gradually begins to adopt aspects of Gwen's personality. Within this transformative process, hidden details of Gwen's life come to light; we learn that this cheerful, perhaps overzealous woman who was called "Feather" in high school had some ghosts of her own. This time around, Oates, one of America's greatest writers, has not written one of her "broad views" into American society, but rather one of her intimate portraits of family relationships. It may not make a big splash, but loyal fans will want it. Recommended for larger popular fiction collections. [See Prepub Alert, LJ 6/15/05.]-Susanne Wells, P.L. of Cincinnati and Hamilton Cty., OH Copyright 2005 Reed Business Information.
Kirkus Reviews
Oates's latest, which examines the aftershocks of a suburban murder, is an uneasy cross between her literary fiction and her pseudonymous "Rosamond Smith" mystery thrillers. It begins on Mother's Day, when narrator Nikki Eaton attends a party for her widowed mother, Gwen, and, as usual, blends in awkwardly, offending the sensibilities of her married older sister Clare, as well as her mother's assorted friends (who are, effectively, beneficiaries of Gwen's unquenchable good will). Things spin quickly out of control when Gwen is robbed and murdered by wretched "meth-head" ex-convict Ward Lynch, and the quiet neighborhood (in upstate Mt. Ephraim, NY) where she had lived for 30 years tries to cope with the ensuing emotional fallout. Sticking strictly to Nikki's viewpoint, Oates portrays her narrator as a free-spirited (possibly just borderline-trashy?) babe who works as a feature-writer for a regional weekly newspaper, sustains a ragged affair with married developer and radio deejay Wally Szalla (who may or may not divorce his wife), and grieves awkwardly for her mother, while waiting to learn whether Lynch will plead guilty or stand trial, and deflecting the hesitant attentions of a police detective whose interest in her seems less than professional. The novel consists of bulky setpieces in which Nikki discusses her Gwen with the cartoonishly intemperate Clare, people who remember Gwen's vibrant youth and probably loveless marriage to a cold-fish husband, and, finally, the former boyfriend who abandoned Gwen to enter the priesthood. Add in flashbacks to Nikki's childhood and early adulthood, and the novel becomes irrationally bloated; on virtually every page, we sense Oates's desperation toextend this banal premise, overwriting, incessantly over-detailing. The only halfway credible character is Gwen's surly tomcat Smoky-probably because we aren't made privy to his thoughts. After last year's triumph The Falls, Oates gives us this? Get this woman an editor.
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