Unique approach on time travel
OONA Lockhart is ready to begin her adult life when she turns 19 at the stroke of midnight.
Surrounded by friends at a New Year’s Eve party, she wonders what her future holds as the clock counts down the final moments of 1982. Instead of blowing a horn and kissing her boyfriend, Oona faints, opens her eyes and finds herself in an unfamiliar house.
Oona has awakened 32 years in the future in her 51-year-old body.
A kind stranger named Kenzie assures Oona that all is well. Kenzie explains to Oona that she is home, she’s a time jumper, and even though she’s “old” on the outside, she’s still her true age on the inside. With each passing year, Oona turns another year older, but hops to a different age.
Oona never knows which outside age she will encounter next.
takes a unique approach on time travel. We see the plot move along with unexpected, yet entertaining twists and turns. We learn at the end of the day, time is of the essence and love endures all. – Associated Press
THOMAS Martin seems to be a good man. He has a wife, Miriam, a daughter Ava. A suburban home that all but has a white picket fence.
He’s a creative talent at an ad agency, where he is a favourite of the boss Greg, and seems to get on with the women on his team. But from the beginning of this chilling book, there is a sense of dissociation between the life the family is living, and the reality that lies behind the warped words of Thomas’s narration of his life.
We meet him as he is picking up gifts that have been delivered for Christmas, one of them is a billy club, and an instrument that can both hurt and be decorative.
His wife is French and he meets her in a bar, from the narrator’s point of view this is love at first sight, and the right time for Thomas to settle down. And so, he woos Miriam, yet behind his loving words there is a sense of menace.
Because we know that something has happened to Thomas’s girls. In fact, the very objectification of them as his “girls” speaks of a toxic masculinity that the reader hopes might be benign (if such a thing ever can be) and yet comes to realise as one reads further in this dark book, about light things that there is catastrophe drawing closer.
We know that his life has been ruined and that his “girls” are no longer with him, but we don’t know why or where they have gone.
His home on Long Island is very different from the crumbling Victorian pile of his childhood home. Which is a dark and dank place, lived in by his increasingly sickly mother, and his younger twin sisters who have never been to school, or really left home, they love their niece and they rely on Thomas for their needs, but they are damaged by a youth that holds hideous secrets.
His mother has a version of her life with his father which is not true, and Thomas knows this, and yet he allows it to continue unchallenged, and for his sisters’ teeth to rot and their minds to be undeveloped. He’s a good man, he provides for them, but does he care for them?
There are truths in his life as a good father, a good worker, a good friend, that run contrary to the truth of what has happened, and is happening in his life. As things begin to unravel there is a sense of the narrator we cannot trust spinning us a story in which his behaviour is exonerated, but by himself.
His love of opera lifts the novel and then plunges it into dark places, as he imagines himself as Wagner’s Tannhauser. Because in the end the toxic masculinity has two faces, and both of them are terrifying. A terrifically clever novel for our time.