"Slate - Salon - Cosmopolitan - BuzzFeed - BookPage"
Written with the riveting storytelling of authors like Emma Donoghue, Adam Johnson, Ann Patchett, and Curtis Sittenfeld, "Cartwheel "is a suspenseful and haunting novel of an American foreign exchange student arrested for murder, and a father trying to hold his family together. Read more...
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"Slate - Salon - Cosmopolitan - BuzzFeed - BookPage"
Written with the riveting storytelling of authors like Emma Donoghue, Adam Johnson, Ann Patchett, and Curtis Sittenfeld, "Cartwheel "is a suspenseful and haunting novel of an American foreign exchange student arrested for murder, and a father trying to hold his family together.
When Lily Hayes arrives in Buenos Aires for her semester abroad, she is enchanted by everything she encounters: the colorful buildings, the street food, the handsome, elusive man next door. Her studious roommate Katy is a bit of a bore, but Lily didn't come to Argentina to hang out with other Americans.
Five weeks later, Katy is found brutally murdered in their shared home, and Lily is the prime suspect. But who is Lily Hayes? It depends on who's asking. As the case takes shape--revealing deceptions, secrets, and suspicious DNA--Lily appears alternately sinister and guileless through the eyes of those around her: the media, her family, the man who loves her and the man who seeks her conviction. With mordant wit and keen emotional insight, "Cartwheel" offers a prismatic investigation of the ways we decide what to see--and to believe--in one another and ourselves.
In "Cartwheel, " duBois delivers a novel of propulsive psychological suspense and rare moral nuance. No two readers will agree who Lily is and what happened to her roommate. "Cartwheel" will keep you guessing until the final page, and its questions about how well we really know ourselves will linger well beyond.
Praise for "Cartwheel"
"A smart, literary thriller for] fans of Gillian Flynn's "Gone Girl.""--"The Huffington Post"
"Psychologically astute . . . DuBois hits the] larger sadness just right and dispenses with all the salacious details you can readily find elsewhere. . . . The writing in "Cartwheel" is a pleasure--electric, fine-tuned, intelligent, conflicted. The novel is engrossing, and its portraiture hits delightfully and necessarily close to home."--"The New York Times Book Review" (Editor's Choice)
"Marvelous . . . a gripping tale . . . Every sentence crackles with wit and vision. Every page casts a spell."--Maggie Shipstead, author of "Seating Arrangements"
" You'll] break your own record of pages read per minute as you tear through this book."--"Marie Claire"
"Jennifer duBois is destined for great things."--"Cosmopolitan"
"A convincing, compelling tale . . . The story plays out in all its well-told complexity."--New York "Daily News"
" A] gripping, gorgeously written novel . . . The emotional intelligence in "Cartwheel "is so sharp it's almost ruthless--a tabloid tragedy elevated to high art. Grade: ] A-""--Entertainment Weekly"
"Sure-footed and psychologically calibrated . . . As the pages fly, the reader hardly notices that duBois has stretched the genre of the criminal procedural."--"Newsday"
"Provocative, meaningful and suspenseful."--"Chicago Tribune
" Jennifer duBois is] heir to some of the great novelists of the past, writers who caught the inner lives of their characters and rendered them on the page in beautiful, studied prose."--"Pittsburgh Post-Gazette"
Publishers Weekly® Reviews
- Reviewed in: Publishers Weekly, page .
- Review Date: 2013-07-08
- Reviewer: Staff
Taking themes that were “loosely inspired by the story of Amanda Knox,” Cartwheel follows American exchange student Lily Hayes, who has been accused of murdering her roommate, Katy Kellers, in Argentina. Like Knox, Lily’s troublesome lack of anguish, as reportedly evidenced by canoodling with her boyfriend the day after the murder, causes an uproar in the media. Like Knox, Lily seems to have been completely normal—so normal, in fact, that her disbelief at her predicament leads to some bad choices. While duBois (A Partial History of Lost Causes) clearly has the authorial chops to illustrate complex characters, Cartwheel remains flat partly because she seems more focused on avoiding right answers or easy sympathy than creating characters who are more than moral specimens. While muddying the waters of right and wrong is almost always a valiant cause in literature, this novel reads more like an intellectual exercise in examining all the different angles rather than an emotional engagement with human beings. Agent: Henry Dunow, Dunow, Carlson & Lerner. (Oct. 1)
Lost innocence, abroad
Jennifer duBois is concerned that some readers of her stunning new novel, Cartwheel, might think the book is somehow factual since the themes of the novel were “loosely inspired” by the Amanda Knox story.
“I’ve noticed that people are sometimes very suspicious of the notion of fiction,” duBois says during a call that reaches her in Orem, Utah, where she is visiting her husband’s family. DuBois, who is 29, and her husband, novelist Justin Perry, met in a writing workshop at Stanford, where both were Stegner Fellows, married almost exactly one year ago, and recently moved to Austin, where she teaches creative writing. “With my first novel [the widely and deservedly praised A Partial History of Lost Causes], because of its female first-person narrator, the first question I was always asked was how much of it is autobiographical. In this case, it’s a famous news story, so there are a lot of questions.”
But in fact, Cartwheel shares only the most basic outline with the story of Amanda Knox, the real-life American student who was tried in Italy for the murder of her roommate. In duBois’ novel, Lily Hayes comes to Buenos Aires for a semester abroad and little more than a month later is arrested for the brutal murder of her roommate Katy Kellers, a college student from Los Angeles.
“I wanted to explore some of the broad issues I saw in the Amanda Knox case,” duBois says, “so Lily Hayes is indeed a conventionally attractive, privileged young woman in a country that she sort of understands but maybe doesn’t totally understand. Beyond that, in all the dialogue, in every scene, nothing at all corresponds to the reality.”
“People seemed to look at this young woman and this case and see very, very different things.”
What most interested duBois about the case was that “people seemed to look at this young woman and this case and see very, very different things—but with similar levels of intensity. So some would say, oh, absolutely that girl did it, there’s something really wrong with her, you can just tell. Then you’d hear others say she was railroaded, it’s ridiculous, there’s no way she did it. And I realized that these reactions and the certainty with which people were feeling them were influenced and inflected by broader issues. This case unfolded at the nexus of a lot of countervailing factors, in terms of class and race and gender and religion and, I think, a kind of cultural misapprehension as well.”
So Cartwheel is at least in part an exploration of how the stories we tell ourselves to explain the world are shaped. The novel unfolds through multiple, shifting points of view. At one extreme is Lily’s father, who, duBois observes, “has this image of Lily as one in a long line of innocent, persecuted young women, the next victim of a witch hunt-like hysteria.” And at the other extreme is Eduardo Campos, the emotionally and morally complex prosecutor, who “sees Lily in the context of a long line of murderous American arrogance.”
And of course Lily, a mixture of naive confidence and insecurity, has her own story about what motivates her. “Lily believes her motivations to be good,” duBois explains. “She looks at her behavior as the tip of this ultimately benign iceberg that means well and wishes no harm and can’t quite grasp that other people don’t see this. I think that’s something everybody always struggles with. We’re always the most sympathetic audience for ourselves because we know all the mitigating variables.”
What makes Cartwheel so psychologically fraught—a reader will not want to put the book down because the story is so gripping, but will find it necessary to put it down because the interactions among the characters are often so intense—is that duBois leaves enough room for doubt that, she reports, early readers are divided in their beliefs about Lily’s innocence or guilt.
“One thing I wanted to gesture toward,” duBois says, “is that each individual contains, certainly not the capacity for murder, but a capacity for some kind of callousness or brutality. Even if she were innocent that doesn’t mean Lily doesn’t contain any capacity for wrongdoing. Something I always think about when somebody commits a crime and they go back into their past and find some small brutality or something is that only in retrospect would this appear to be a horrifying prophecy or omen. It’s interesting to me how people read reality into things.”
One of the most interesting readers of the novel’s reality, a character who demonstrates both how far the novel is from the Amanda Knox case and duBois’ enviable capacity for insight, invention and wit, is Lily’s almost-boyfriend Sebastien LeCompte. A brilliant 20-something who has come home to live as a recluse in the house next to Lily’s host family after his wealthy parents die under mysterious circumstances, Sebastien is preposterous, sardonic, funny and sad, and he embodies a kind of critique of how we talk meaningfully about important things.
“I think Sebastien was the emotional access point to the novel for me because he was the character I came to be most fond of,” duBois says. “Obviously he is a very wounded and a very lonely, lonely person. And obviously the incredibly maddening half-ambiguity in everything he says is a defense against that.
“One reason I was interested in him is that I think somewhere along the line we have become uncomfortable with sincerity. My generation—Millennials—are very comfortable with our vernacular: sarcasm, verbal irony, always saying sort of the opposite of what we mean, which ultimately translates as sincerity because it’s just the inverse. I liked the idea of a character who occupies this hazy middle ground, where people can’t quite take what he says seriously but also can’t just reverse it. I liked the comic potential of that and also, ultimately, the tragic potential.”
DuBois says she thinks her two novels are similar only in that “both books have intellectual and philosophical questions at their center, and I hope those questions are instantiated in characters that feel alive and real and the questions feel not just abstract or silly or cerebral but urgent.”
Cartwheel does indeed move with a sense of urgency. It’s a novel that a reader will be eager, perhaps even desperate, to discuss with other readers.