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We Only Know So Much
A funny and moving debut novel that follows four generations of a singularly weird American family, all living under one roof, as each member confronts a moment of crisis in a narrative told through a uniquely quirky, charming, and unforgettable voice. Acclaimed short story writer Elizabeth Crane, well known to public radio listeners for her frequent and captivating contributions to WBEZ Chicago’s Writer’s Block Party, delivers a sublime, poignant, and often hilarious first novel, perfect for fans of Jessica Anya Blau’s The Summer of Naked Swim Parties and Heather O’Neill’s Lullabies for Little Criminals.“Crane has a distinctive and eccentric voice that is consistent and riveting.” —New York Times Book Review
280 pages, Kindle Edition
First published June 12, 2012
84 people are currently reading
2616 people want to read
About the author
Elizabeth Crane
37 books131 followersElizabeth Crane is the author of two novels We Only Know So Much (now a major motion picture) and The History of Great Things (Harper Perennial) and four collections of short stories: When the Messenger Is Hot and All This Heavenly Glory (Little, Brown) and You Must Be This Happy to Enter (Akashic Books), and Turf (Counterpoint). Her work has been adapted for the stage by Steppenwolf Theater and featured on NPR's Selected Shorts. She is a winner of the Chicago Public Library 21st Century Award.
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Displaying 1 - 30 of 173 reviews
July 26, 2016
One hot mess. That’s the first thought that comes to mind. The story was told out of sequence; the characters proved unlikeable and sometimes odious; the entire family managed to engage in conversations without ever really talking about anything meaningful; relationships died faster than a daisy in the middle of a blizzard; the voice was quirky, at times eccentric, and it filled me up with about as much hope as a five car pile-up. But I enjoyed the hell out of it anyway. I can’t adequately explain it, but it spoke to me like a ghost with two heads, or a blue lizard with his mouth open and eyes wide, telling me meaningful and profound thoughts with a slight upturn of his head.
I went into WE ONLY KNOW SO MUCH without any predispositions or inclinations, and I was glad I had my eyes open wide, and just went along for the ride. Because this story took me to some dark places, down some lonely roads, and I didn’t particularly like myself at all parts of this journey, but it was an exploratory endeavor that was as discombobulated and confusing and complicated as life itself. Had I not been a bit eccentric, I might have been less than thrilled with this ride, but I often look at myself (and I say this with complete sincerity) as one hot mess. So I connected with the material on a deep, meaningful level, even though it took me a while to reach the level of full emersion.
This novel breaks the major rule of writing: Show, don’t tell. Told from the perspective of an omniscient narrator, it single-handedly proves that with good writing there are no rules. Because I loved the fact that the narrator talks directly to the audience with a bit of dialogue, exposition, and backstory thrown in to move the story along. Even when it moves a bit tangentially (again, I’m often prone to making random connections in the universe), I was giddy with Elizabeth Crane’s storytelling ability. It was like snuggling up in a warm blanket, even if that blanket may turn around and occasionally bite you on the ass.
Cross-posted at Robert's Reads
I went into WE ONLY KNOW SO MUCH without any predispositions or inclinations, and I was glad I had my eyes open wide, and just went along for the ride. Because this story took me to some dark places, down some lonely roads, and I didn’t particularly like myself at all parts of this journey, but it was an exploratory endeavor that was as discombobulated and confusing and complicated as life itself. Had I not been a bit eccentric, I might have been less than thrilled with this ride, but I often look at myself (and I say this with complete sincerity) as one hot mess. So I connected with the material on a deep, meaningful level, even though it took me a while to reach the level of full emersion.
This novel breaks the major rule of writing: Show, don’t tell. Told from the perspective of an omniscient narrator, it single-handedly proves that with good writing there are no rules. Because I loved the fact that the narrator talks directly to the audience with a bit of dialogue, exposition, and backstory thrown in to move the story along. Even when it moves a bit tangentially (again, I’m often prone to making random connections in the universe), I was giddy with Elizabeth Crane’s storytelling ability. It was like snuggling up in a warm blanket, even if that blanket may turn around and occasionally bite you on the ass.
Cross-posted at Robert's Reads
June 2, 2012
We Only Know So Much is a wonderful book, bursting with heart and wit. This is one of those books where you will laugh over and over because so much of the story of the Copeland family is so open and honest and human.
Crane was really effective in showcasing the concerns of each family member--Gordon, the loquacious, self-involved, deeply distracted father, Jean, the mother mourning the suicide of her lover, Priscilla, the bitchy daughter, trying to figure out what she's going to do with her life, what she can be proud of, Otis, the 9 year old son who is whimsical and quiet and observant and in love with a girl from school, Theodore, Gordon's father, whose mind and health are failing, and Vivian, Gordon's grandmother, who is elegant and emotionally subdued, but full of verve and opinion, hell bent on keeping the family on track.
Each character feels distinct, though Crane especially shines when writing Priscilla and Otis. She has a fine skill for capturing the frustrations and terrible hopes of youth and young adulthood and you cannot help but root for Priscilla, especially, even when she drives you crazy.
I also appreciated how each character had a clear narrative arc that felt true to the novel as a whole.
There is only one part of the book I did not appreciate--the narration is this odd omniscient, first person plural sort of snarky voice of some outside party making these observations about the family but the novel, to my mind, would have been much stronger without it. The narrative intrusions were inconsistent and often jarring, pulling me out of the cozy world of the Copeland family where I very much wanted to stay.
On the whole, though, this is a really fulfilling, intelligent book that will make you want to cry as much as you laugh—a winning combination.
Crane was really effective in showcasing the concerns of each family member--Gordon, the loquacious, self-involved, deeply distracted father, Jean, the mother mourning the suicide of her lover, Priscilla, the bitchy daughter, trying to figure out what she's going to do with her life, what she can be proud of, Otis, the 9 year old son who is whimsical and quiet and observant and in love with a girl from school, Theodore, Gordon's father, whose mind and health are failing, and Vivian, Gordon's grandmother, who is elegant and emotionally subdued, but full of verve and opinion, hell bent on keeping the family on track.
Each character feels distinct, though Crane especially shines when writing Priscilla and Otis. She has a fine skill for capturing the frustrations and terrible hopes of youth and young adulthood and you cannot help but root for Priscilla, especially, even when she drives you crazy.
I also appreciated how each character had a clear narrative arc that felt true to the novel as a whole.
There is only one part of the book I did not appreciate--the narration is this odd omniscient, first person plural sort of snarky voice of some outside party making these observations about the family but the novel, to my mind, would have been much stronger without it. The narrative intrusions were inconsistent and often jarring, pulling me out of the cozy world of the Copeland family where I very much wanted to stay.
On the whole, though, this is a really fulfilling, intelligent book that will make you want to cry as much as you laugh—a winning combination.
Read
January 12, 2020Well, I know enough.
June 2, 2012
We Only Know So Much is a wonderful book, bursting with heart and wit. This is one of those books where you will laugh over and over because so much of the story of the Copeland family is so open and honest and human.
Crane was really effective in showcasing the concerns of each family member--Gordon, the loquacious, self-involved, deeply distracted father, Jean, the mother mourning the suicide of her lover, Priscilla, the bitchy daughter, trying to figure out what she's going to do with her life, what she can be proud of, Otis, the 9 year old son who is whimsical and quiet and observant and in love with a girl from school, Theodore, Gordon's father, whose mind and health are failing, and Vivian, Gordon's grandmother, who is elegant and emotionally subdued, but full of verve and opinion, hell bent on keeping the family on track.
Each character feels distinct, though Crane especially shines when writing Priscilla and Otis. She has a fine skill for capturing the frustrations and terrible hopes of youth and young adulthood and you cannot help but root for Priscilla, especially, even when she drives you crazy.
I also appreciated how each character had a clear narrative arc that felt true to the novel as a whole.
There is only one part of the book I did not appreciate--the narration is this odd omniscient, first person plural sort of snarky voice of some outside party making these observations about the family but the novel, to my mind, would have been much stronger without it. The narrative intrusions were inconsistent and often jarring, pulling me out of the cozy world of the Copeland family where I very much wanted to stay.
On the whole, though, this is a really fulfilling, intelligent book that will make you want to cry as much as you laugh—a winning combination.
Crane was really effective in showcasing the concerns of each family member--Gordon, the loquacious, self-involved, deeply distracted father, Jean, the mother mourning the suicide of her lover, Priscilla, the bitchy daughter, trying to figure out what she's going to do with her life, what she can be proud of, Otis, the 9 year old son who is whimsical and quiet and observant and in love with a girl from school, Theodore, Gordon's father, whose mind and health are failing, and Vivian, Gordon's grandmother, who is elegant and emotionally subdued, but full of verve and opinion, hell bent on keeping the family on track.
Each character feels distinct, though Crane especially shines when writing Priscilla and Otis. She has a fine skill for capturing the frustrations and terrible hopes of youth and young adulthood and you cannot help but root for Priscilla, especially, even when she drives you crazy.
I also appreciated how each character had a clear narrative arc that felt true to the novel as a whole.
There is only one part of the book I did not appreciate--the narration is this odd omniscient, first person plural sort of snarky voice of some outside party making these observations about the family but the novel, to my mind, would have been much stronger without it. The narrative intrusions were inconsistent and often jarring, pulling me out of the cozy world of the Copeland family where I very much wanted to stay.
On the whole, though, this is a really fulfilling, intelligent book that will make you want to cry as much as you laugh—a winning combination.
August 13, 2012
My favorite type of book: funny, sad, super obsessive, dark and twisted, and so charming. I didn't want it to end. And in a way it doesn't just end. The P.S. is such a personal and honest account of the writer's background, her influences, and a little bit about the novel, the story behind it, from its inception at Yaddo to the changes from agent to editor to page. You get the sense that E. Crane is a very cool person, plus, she was on a DFW panel, which proves that she's special.
http://www.youtube.com/watch?v=8NZDXD...
http://www.youtube.com/watch?v=8NZDXD...
June 5, 2012
I've never had so much fun reading about such messed up people. Messed up people are always the most interesting (though I suppose everyone is messed up anyway and it is just where they are messed up that they are interesting), but it can sometimes be unpleasant to read about it. Interesting and pleasant are not the same thing. Crane balances wonderfully in this book. The characters go through some real bad times with their messed up selves, but I still found the book enjoyable to read. I have rarely seen a group of people so alone and together.
July 4, 2012
Add a star for not following the formula of adultery novels. Take away a star for the precocious kid who doesn't have words for all he understands; I wanted more from him than he was allowed in his story of not understanding what his mother told him and having that elementary school first love. Add stars for compassion for characters lacking self-awareness. Add two stars because her short stories have made me life-long loyal and this disconfirmed my hypothesis that people who can really do short story rhythm often blow the rhythm of novels, but take away a star because I knew the characters of her short stories much better than I got to know any one member of this family. Add a star for compassion for the bitchy girl. Add a star because I enjoyed reading it and it will stick with me, and I have no idea how many stars I'm at now. Maybe another star because she writes recognizably as herself without irritating me with quirkiness, can use that first person plural to talk about what the narrator and reader _know_ without me feeling like it's some fourth wall gimmick that will seem terribly dated in five years. Maybe the hardest thing is that I liked it but there were moments when it could have done more, so I wasn't blown away.
June 21, 2017
This is the worst book I've ever read.
My mom bought the book, read it, hated it, and gave it to me to read with the forewarning it was the worst book. I thought the premise seemed interesting and I'd read it. The premise might have been fine. The writing is so very, very terrible. Half of the book is in italics, half of the book is in list form. All of it is idiotic.
'Yesterday I looked into the eyes of a squirrel and I saw my dead lover, James, who said, Yes, it's true about heaven.'
That is not quirky, that is terrible writing. There are so many examples of how terrible the writing is, but I wasted so much time reading this book already...
The last lines are " We only know so much. What do you think?" I think this was horrible and I advise everyone to find something else to read!
My mom bought the book, read it, hated it, and gave it to me to read with the forewarning it was the worst book. I thought the premise seemed interesting and I'd read it. The premise might have been fine. The writing is so very, very terrible. Half of the book is in italics, half of the book is in list form. All of it is idiotic.
'Yesterday I looked into the eyes of a squirrel and I saw my dead lover, James, who said, Yes, it's true about heaven.'
That is not quirky, that is terrible writing. There are so many examples of how terrible the writing is, but I wasted so much time reading this book already...
The last lines are " We only know so much. What do you think?" I think this was horrible and I advise everyone to find something else to read!
September 15, 2012
This novel shows familial struggles so well from inside all sides you get to thinking: man, why doesn't Jean leave her husband Gordon, they're just miserable and can't even relate to each other, they're so wrapped up in their own struggles -- and then you think yeah, they have kids, so it's complicated, and they did care for each other, it was a long, slow progression of getting to this place, maybe they can get out of it, but then just no, sometimes relationships outgrow their potential for positive growth, maybe it's best just to go -- these relationships are so dramatic and unbearably intense, maybe they should just opt out -- and then you maybe get to thinking about your own intense family struggles, and how you can't just opt out, and then you maybe realize that that's the entire definition of the family relationship, and if we're so blessed as to have a family, and stuck with and cursed by family, that's why stories like this are so valuable and inherently engaging, when done well, as this one is, expertly so.
Priscilla, the teenage daughter, is so unlikeable and nasty until you realize she's a teenager acutely observed and rendered, and teenagers are inherently unlikeable and nasty at phases, as you yourself probably were (I for sure was). And during her descent, the more Priscilla thinks she sucks, the more you care for her and see the good in her.
Basically I left this novel thinking "Oh my Lord, everybody is so confused and trying so hard and stuffs just really super hard and I hope I'm good to the people in my life."
And there is this scene with a man succumbing to dementia, well-intentionally dismantling his mother's beloved Furby that will choke-hold your heart. Yes, a scene with a fucking Furby that will ruin you for a minute.
Priscilla, the teenage daughter, is so unlikeable and nasty until you realize she's a teenager acutely observed and rendered, and teenagers are inherently unlikeable and nasty at phases, as you yourself probably were (I for sure was). And during her descent, the more Priscilla thinks she sucks, the more you care for her and see the good in her.
Basically I left this novel thinking "Oh my Lord, everybody is so confused and trying so hard and stuffs just really super hard and I hope I'm good to the people in my life."
And there is this scene with a man succumbing to dementia, well-intentionally dismantling his mother's beloved Furby that will choke-hold your heart. Yes, a scene with a fucking Furby that will ruin you for a minute.
June 23, 2012
I didn't hate this book, but I also didn't love it. It left me feeling "meh." There were parts that I really like. I liked Otis and his ill-fated love with Caterina, lover of jelly beans. I liked Theodore, and his relationship with Pricilla. I do think that much of this book is witty and funny. I'm just not sure what it's all supposed to add up to (or what we're to make of that move towards magical realism (maybe? I'm not even sure) at the end that seems to come out of nowhere. Really, no one with the exception of Otis is particularly likeable (okay, so maybe that makes them more "real", but it makes it less fun for me to read. God, I'm sick to death this summer of reading about people I hate.). This book was a Rumpus book, and reminds me again that I should quit the book club. They have this close connection with McSweeney's and nothing screams hipster writing to me like McSweeney's. I am no hipster. As a matter of fact, I feel less and less hip every day. I suppose my writing is also not hipster writing (and probably not particularly clever or witty. I'm so sick of clever I could scream). Perhaps that means that I'll never get a book published, but there it is.
My copy of this book does have an interesting PS section in the back where the author answers some questions and then talks a little about how this book came to be and how she wanted it to remain as much like a short story as possible. I'm not sure I totally understand all of that (or even why one would want the novel to stay like a short story--why not then just write linked short stories?), but it was interesting to read none-the-less.
My copy of this book does have an interesting PS section in the back where the author answers some questions and then talks a little about how this book came to be and how she wanted it to remain as much like a short story as possible. I'm not sure I totally understand all of that (or even why one would want the novel to stay like a short story--why not then just write linked short stories?), but it was interesting to read none-the-less.
June 18, 2012
I LOVED this book- reading about the Copeland family had me laughing, cringing and crying almost at the same time. This family is one at a cross roads- each for a slightly different reason- each wrapped up in their own personal drama that they don't see the turmoil in the lives of those around them. This first novel will be one that sticks with you and makes you want to spend more time with this cast of characters.
This is a book I recommend for any one who loves Wes Anderson's movies as it has a similar sensibility :)
This is a book I recommend for any one who loves Wes Anderson's movies as it has a similar sensibility :)
January 17, 2013
(Reprinted from the Chicago Center for Literature and Photography [cclapcenter.com]. I am the original author of this essay, as well as the owner of CCLaP; it is not being reprinted illegally.)
Former Chicagoan Elizabeth Crane is just a little too good a personal friend for me to claim I could do an "objective" review of her newest book, last year's We Only Know So Much (BONUS: Listen to my 2007 podcast interview with Crane); but I wanted to get a mention of it up here anyway because I enjoyed it so much, another solid winner in what's always a delightful career. A contemporary human-interest dramedy firmly in the Franzen dysfunctional-family vein, the story is peopled with more eccentric weirdos than a Wes Anderson film -- the wife having an affair with a guy who then dies, the husband obsessed with getting Alzheimer's, the vapid daughter, the nerdy son, the senile grandfather and the pissy 98-year-old great-grandmother -- and Crane builds an interesting, event-filled plot for all of them to go through, the kind of entertaining and charming novel that sleeper low-budget Hollywood hits get adapted from. Given that Crane is mostly known at this point for her short stories, I love seeing her expand here into full novel territory, and this quiet yet sophisticated tale is sure to strike a chord with fans of Jennifer Egan and the like.
Out of 10: N/A
Former Chicagoan Elizabeth Crane is just a little too good a personal friend for me to claim I could do an "objective" review of her newest book, last year's We Only Know So Much (BONUS: Listen to my 2007 podcast interview with Crane); but I wanted to get a mention of it up here anyway because I enjoyed it so much, another solid winner in what's always a delightful career. A contemporary human-interest dramedy firmly in the Franzen dysfunctional-family vein, the story is peopled with more eccentric weirdos than a Wes Anderson film -- the wife having an affair with a guy who then dies, the husband obsessed with getting Alzheimer's, the vapid daughter, the nerdy son, the senile grandfather and the pissy 98-year-old great-grandmother -- and Crane builds an interesting, event-filled plot for all of them to go through, the kind of entertaining and charming novel that sleeper low-budget Hollywood hits get adapted from. Given that Crane is mostly known at this point for her short stories, I love seeing her expand here into full novel territory, and this quiet yet sophisticated tale is sure to strike a chord with fans of Jennifer Egan and the like.
Out of 10: N/A
March 13, 2013
We Only Know So Much tells the story of the Copeland family - a seemingly happy family of 6 comprising of four generations - all living in the same house. The story is told from each character's point of view, and they are presented, flaws and all, very humanly and honestly. The characters appear as stereotypes but as the novel progresses we get deeper insight into each of their lives, from nine year old Otis to ninety-eight year old Vivian, and the others in between.
The novel embodies what I dislike most about the stereotype of literary fiction, which is that nothing really happens. There are a few plot points to move story along, but this is not the novel to read if you enjoy plot. The book also suffers from a rather annoying and confusing omniscient narrator. The narrator is able to get into each character's psyche but adds his/her own commentary, complete with choppy sentences and an overly familiar tone, often using first person plural nouns ("Look, we're just reporting what we've heard." Sorry, but there is no we).
Ultimately it's a story of how people can share the same roof, even the same bed, and yet not know a thing about each other. It was a pleasant enough read but it was forgettable and I couldn't get past the narrative voice.
The novel embodies what I dislike most about the stereotype of literary fiction, which is that nothing really happens. There are a few plot points to move story along, but this is not the novel to read if you enjoy plot. The book also suffers from a rather annoying and confusing omniscient narrator. The narrator is able to get into each character's psyche but adds his/her own commentary, complete with choppy sentences and an overly familiar tone, often using first person plural nouns ("Look, we're just reporting what we've heard." Sorry, but there is no we).
Ultimately it's a story of how people can share the same roof, even the same bed, and yet not know a thing about each other. It was a pleasant enough read but it was forgettable and I couldn't get past the narrative voice.
August 20, 2013
Eh. The cover made me expect it would be barely disguised chick lit. But it was better than that. It was a portrait of all the people in one family. They didn't really seem to have a whole lot to do with each other, so it was more like a bunch of short stories about people who happened to be related. Which makes sense because the author says she always wrote short stories and when she tried to write a novel (I'm guessing her publisher asked her to do it), she didn't really know how. But that's behind the scenes.
In the actual book, when the mom started telling the young boy about her love-affair with the guy who killed himself, I pretty much checked out of her story. But I did get interested in the boy, and how he really liked this girl in his class and noticed all sorts of details about her, like how she ate a Jelly Belly in 3 tiny bites.
In the end, though, I was disappointed. The thing stopped at least a chapter too early. If anyone can tell me in any kind of definitive way what happened to Vivian, I will give you $50. Floating away in a car does not cut it.
I read this on an airplane. It was good for that purpose. But I would not read it again.
In the actual book, when the mom started telling the young boy about her love-affair with the guy who killed himself, I pretty much checked out of her story. But I did get interested in the boy, and how he really liked this girl in his class and noticed all sorts of details about her, like how she ate a Jelly Belly in 3 tiny bites.
In the end, though, I was disappointed. The thing stopped at least a chapter too early. If anyone can tell me in any kind of definitive way what happened to Vivian, I will give you $50. Floating away in a car does not cut it.
I read this on an airplane. It was good for that purpose. But I would not read it again.
November 16, 2024
Elizbeth Crane usually writes short stories, so this was her debut novel. It is a look at the four generations of the Copeland family who live in one large home. The novel is easy to get into, with a fast-moving commentary by the narrator who quickly pulls her readers in.
Vivian is the matriarch, a widow who is ninety-eight, lost her husband Baron years ago and is still as sharp as a tack. Seventy-five year-old Theodore is her son. He lost his wife Laura a few years ago and is now losing his physical strength and mental acuity to Parkinson’s Disease. The family has recently added a wheelchair, a walker and a sitter to help them cope with his deteriorating condition. Gordon is Theodore’s son and it is his family that forms the center of this novel. He is a midlevel manager for a chain of grocery stores and has been married to his wife Jean for over twenty years. They have two children, nineteen-year-old Priscilla and nine-year-old Otis.
Living under one roof has its challenges and over the next pages, the narrator regals readers with a sense of this family, their different personalities and a view of their lives.
Vivian is a self-absorbed woman who has never been interested in a person, place or thing, other than herself. She only engages with others when she is the center of attention, regaling anyone who will listen with stories of her past, repeated so many times, the family seldom listens anymore. She can be quick with a critical comment and despairs at much of what is accepted as part of modern life. Her son Theodore is described sympathetically, as he endures his chronic illness that is gradually getting worse and which the family has learned to cope with and accept. He enjoys taking things part but has no idea how to put them back together; collects piles of various papers and news clippings and enjoys walks on the large property but often becomes disorientated. He often considers an academic paper he has been preparing for months, convinced he will soon present it at an academic optometry conference. Most of the time he just looks at it, reads it to himself or to the others if they will listen.
Gordon is a self-absorbed man, a “know-it-all” who has a vast array of knowledge about many things and uses every opportunity to share it with others. He is constantly in “lecture mode”, spouting various facts about anything and everything, whatever the topic may be. The family learned long ago to turn him off or ignore him. Gordon and his wife Jean have been married for over 20 years and Gordon feels they are happy, although they have not shared a bed in several years, something Jean misses but Gordon has not much considered. He sees Jean as a good wife and mother, but hardly pays her much attention. So much so, he is oblivious to the fact she has been having an affair with James, a young teacher she met at her book club who gives her everything Gordon does not. Jean feels James is a good conversationalist, is interested in her views and is a kind and patient lover.
Priscilla is the oldest child, nineteen and now in community college. She is described from the first pages as an airhead and a bitch, someone who finds it easy to hurl nasty comments, snotty remarks and hurtful criticisms whenever she feels like it, having never given headspace to being likeable. When she is angry or frustrated, she slams doors, rolls her eyes, huffs and puffs and shoves people. Priscilla loves fashion and her only goal in life is to be famous, She is hoping to be picked to star in a TV reality show, something she considers would be the ultimate experience. Her brother Otis, is a quiet, smart, young boy who observes everything that goes on around him. He enjoys math problems, creating crossword puzzles and is someone Priscilla considers “nerdy”, earning her the right to call him “Baby Freak”. Otis is deep in the throes of his first crush and is preoccupied with thoughts of Caterina, the object of his affection.
As the narrator leads readers watching this self-involved group of characters, it becomes apparent they are hardly a family. They are just a collection of people living together, each wrapped up in their own heads and their own lives, hardly connecting with each other. During the time readers spend watching them, each goes through an important event. Vivian loses her favorite mechanical toy in her son’s mission to take apart whatever he finds and destroys it. Theodore’s health takes a serious downhill slide and he wanders out on his own. Gordon meets a former lover he does not remember and is convinced he is losing his memory. Jean heads out for a tryst with her lover and finds his body hanging from the rafters. Priscilla auditions for a TV reality show but fails to get the part, and Otis has his first experience with love when he finally gets to talk with Catrina.
Crane provides the omniscient narrator with a chummy, casual and the sometimes-sarcastic voice of a confidant, as she leads readers watching events unfold. Initially I enjoyed the close camaraderie Crane created with the narrator’s dialogue filled with humor and insight, but also judgmental asides. It may not suit every reader and I soon began to find it irritating; it will either appeal or it won’t. Through the narrator, Crane expresses everything we know about families with their secrets, disappointments, outrage, and the silent routine of everyday life, when people speak and some ignore what is said, while others listen.
The narrative is not driven by a plot, but moves along at a steady pace. The characters each reach a defining moment when there is opportunity for change. Some move forward to see themselves and their world differently, from some narrow point when they were entirely preoccupied by themselves, to something important outside of their own narrow view of life.
The title is a good fit for the novel, reflecting what we know about the characters and what the characters know about each other. It is interesting, offering much to think about in its pages, including glimpses of similar people readers may know, members of their own families and even parts of themselves.
Vivian is the matriarch, a widow who is ninety-eight, lost her husband Baron years ago and is still as sharp as a tack. Seventy-five year-old Theodore is her son. He lost his wife Laura a few years ago and is now losing his physical strength and mental acuity to Parkinson’s Disease. The family has recently added a wheelchair, a walker and a sitter to help them cope with his deteriorating condition. Gordon is Theodore’s son and it is his family that forms the center of this novel. He is a midlevel manager for a chain of grocery stores and has been married to his wife Jean for over twenty years. They have two children, nineteen-year-old Priscilla and nine-year-old Otis.
Living under one roof has its challenges and over the next pages, the narrator regals readers with a sense of this family, their different personalities and a view of their lives.
Vivian is a self-absorbed woman who has never been interested in a person, place or thing, other than herself. She only engages with others when she is the center of attention, regaling anyone who will listen with stories of her past, repeated so many times, the family seldom listens anymore. She can be quick with a critical comment and despairs at much of what is accepted as part of modern life. Her son Theodore is described sympathetically, as he endures his chronic illness that is gradually getting worse and which the family has learned to cope with and accept. He enjoys taking things part but has no idea how to put them back together; collects piles of various papers and news clippings and enjoys walks on the large property but often becomes disorientated. He often considers an academic paper he has been preparing for months, convinced he will soon present it at an academic optometry conference. Most of the time he just looks at it, reads it to himself or to the others if they will listen.
Gordon is a self-absorbed man, a “know-it-all” who has a vast array of knowledge about many things and uses every opportunity to share it with others. He is constantly in “lecture mode”, spouting various facts about anything and everything, whatever the topic may be. The family learned long ago to turn him off or ignore him. Gordon and his wife Jean have been married for over 20 years and Gordon feels they are happy, although they have not shared a bed in several years, something Jean misses but Gordon has not much considered. He sees Jean as a good wife and mother, but hardly pays her much attention. So much so, he is oblivious to the fact she has been having an affair with James, a young teacher she met at her book club who gives her everything Gordon does not. Jean feels James is a good conversationalist, is interested in her views and is a kind and patient lover.
Priscilla is the oldest child, nineteen and now in community college. She is described from the first pages as an airhead and a bitch, someone who finds it easy to hurl nasty comments, snotty remarks and hurtful criticisms whenever she feels like it, having never given headspace to being likeable. When she is angry or frustrated, she slams doors, rolls her eyes, huffs and puffs and shoves people. Priscilla loves fashion and her only goal in life is to be famous, She is hoping to be picked to star in a TV reality show, something she considers would be the ultimate experience. Her brother Otis, is a quiet, smart, young boy who observes everything that goes on around him. He enjoys math problems, creating crossword puzzles and is someone Priscilla considers “nerdy”, earning her the right to call him “Baby Freak”. Otis is deep in the throes of his first crush and is preoccupied with thoughts of Caterina, the object of his affection.
As the narrator leads readers watching this self-involved group of characters, it becomes apparent they are hardly a family. They are just a collection of people living together, each wrapped up in their own heads and their own lives, hardly connecting with each other. During the time readers spend watching them, each goes through an important event. Vivian loses her favorite mechanical toy in her son’s mission to take apart whatever he finds and destroys it. Theodore’s health takes a serious downhill slide and he wanders out on his own. Gordon meets a former lover he does not remember and is convinced he is losing his memory. Jean heads out for a tryst with her lover and finds his body hanging from the rafters. Priscilla auditions for a TV reality show but fails to get the part, and Otis has his first experience with love when he finally gets to talk with Catrina.
Crane provides the omniscient narrator with a chummy, casual and the sometimes-sarcastic voice of a confidant, as she leads readers watching events unfold. Initially I enjoyed the close camaraderie Crane created with the narrator’s dialogue filled with humor and insight, but also judgmental asides. It may not suit every reader and I soon began to find it irritating; it will either appeal or it won’t. Through the narrator, Crane expresses everything we know about families with their secrets, disappointments, outrage, and the silent routine of everyday life, when people speak and some ignore what is said, while others listen.
The narrative is not driven by a plot, but moves along at a steady pace. The characters each reach a defining moment when there is opportunity for change. Some move forward to see themselves and their world differently, from some narrow point when they were entirely preoccupied by themselves, to something important outside of their own narrow view of life.
The title is a good fit for the novel, reflecting what we know about the characters and what the characters know about each other. It is interesting, offering much to think about in its pages, including glimpses of similar people readers may know, members of their own families and even parts of themselves.
May 26, 2012
It takes a little time to get used to the writing style of this book. It has a first-person plural omniscient narrator (I had to look that up), with short, choppy, conversational sentences or half-sentences that might start with, "Okay, so..." This style of narration works for the book, though, which is an insightful look at six members of a family, ages 9 to 98. While they weren't necessarily likeable, there was never a character that I didn't want to revisit as the short chapters progressed. There are a few major events here and there, but it's mostly character analysis, with some especially interesting insights into grieving and memory loss.
This review is based on an ARC that I received through the First Reads program.
This review is based on an ARC that I received through the First Reads program.
March 25, 2013
If you are hoping for a well defined plot, this is not the book for you. If, however, you enjoy interesting characters who evolve, a unique voice, and well-crafted words, I think you'll like this as I did. I didn't love it, but it was a fun, quick read. I held off from a 5 star rating because I do like when characters find more redemption that these did, and I didn't care for some of the subject matter. Crane's voice is enviable though, which might have been what I liked the most about this book.
May 5, 2013
I pulled this book off the "new fiction" shelf at the library, and ended up loving it.
Covering a month or 2 of time in the lives of the 6 members of the Copeland family, each person narrates chapters, so we get 6 different perspectives on their family, their lives, and their household. Otis (9), Priscilla (19), Jean (mom), Gordon (dad), Theodore (76, Gordon's dad), and Vivian (95, Theodore's mom).
I love the narration style and different voices. This is a regular odd family, everyone does truly care for each other, even though they don't all seem to show it.
Covering a month or 2 of time in the lives of the 6 members of the Copeland family, each person narrates chapters, so we get 6 different perspectives on their family, their lives, and their household. Otis (9), Priscilla (19), Jean (mom), Gordon (dad), Theodore (76, Gordon's dad), and Vivian (95, Theodore's mom).
I love the narration style and different voices. This is a regular odd family, everyone does truly care for each other, even though they don't all seem to show it.
July 6, 2012
This novel wasn't for me. It's a quirky look at a family disconnected from one another, but it didnt seem to really go anywhere. I grew tired of the "Copelands." For more see my review at http://www.thecuecard.com/
August 9, 2012
Really fun to read!
March 3, 2014
Good stuff. Highly recommend.
January 26, 2024
Look at this face I know, the years are showin' Look at this life I still don't know, where it's going.
Look at these eyes They've never seen, what mattered Look at these dreams So, beat & so battered.
So, many questions Still left unanswered So, much I've never broken through and when, I feel you near me Sometimes, I see so clearly the only truth I've ever known, blessed with inspiration Look at this soul Still searching for salvation I don't know much But I know,that, may be all, I need to know.
"Aaron Neville"
A family with all their idiosyncrasy's, all their delusions, living a life that may not have been part of the plan in the beginning but ended up being how it was mapped out to be. I really liked it. Some people won't. It goes to show we really don't know as much as we think we do. Although I do believe that "Mott" the dog knows more than he is saying.
Look at these eyes They've never seen, what mattered Look at these dreams So, beat & so battered.
So, many questions Still left unanswered So, much I've never broken through and when, I feel you near me Sometimes, I see so clearly the only truth I've ever known, blessed with inspiration Look at this soul Still searching for salvation I don't know much But I know,that, may be all, I need to know.
"Aaron Neville"
A family with all their idiosyncrasy's, all their delusions, living a life that may not have been part of the plan in the beginning but ended up being how it was mapped out to be. I really liked it. Some people won't. It goes to show we really don't know as much as we think we do. Although I do believe that "Mott" the dog knows more than he is saying.
December 2, 2025
I found these characters fascinating, and I really cared for this entire family, even though most of them were objectively self-obsessed, if not obnoxious. Not a lot happens either, besides all of their internal emotional spiraling, but I was at times touched by the writing and teared up, and laughed out loud at least five times, which is actually a feat. In short, I really enjoyed this book, although it could be one of those that I’ll look back on next year and forget most of it (ADHD— what can you do), but it’s a quick read and I wouldn’t mind meeting these people again.
PS Oh, trigger warning: pretty graphic descriptions of suicide— you really didn’t expect me to say that after the review I’ve written, right? In fact, I think most of the people I know might find this book offensive or disturbing. (I think maybe I’m a little twisted? 😬)
PS Oh, trigger warning: pretty graphic descriptions of suicide— you really didn’t expect me to say that after the review I’ve written, right? In fact, I think most of the people I know might find this book offensive or disturbing. (I think maybe I’m a little twisted? 😬)
October 27, 2019
Although I read a lot, I usually stick with psychological thrillers or mysteries. I read We Only Know So Much because it was the selected title in my book club. ‘Slice of life’ novels don’t usually do it for me but the characters were so genuine that I was enrapt. What struck me most was how wrapped up each family member was in their own scenario, just like so many of us in the real world.
What pushed the scales from a 3.5 to a 4 for me was learning from the author’s notes that each character was the subject of their own short story. They way the author wove these stories into a novel really impressed me. On a side note, I wish more authors would include something similar at the end of their books.
What pushed the scales from a 3.5 to a 4 for me was learning from the author’s notes that each character was the subject of their own short story. They way the author wove these stories into a novel really impressed me. On a side note, I wish more authors would include something similar at the end of their books.
July 31, 2023
223:2023
2.5 rounded down. I have mixed feelings about this book. The first 15% I wasn't even sure if I was going to keep reading. Half the family is likeable and lovely and the other half is a bit insufferable. And that continues. And people have some awakenings, but not a lot really happens and the ending is a non-ending so all the things that kept me reading then made me kind of irritated when I finished because there's so little closure. If slightly ambiguous is your thing, you might think this is great. The voice of the narration was different and kind of interesting, tho we never figure out who "we" is. I didn't hate it. I liked pieces. I'm still kind of annoyed.
2.5 rounded down. I have mixed feelings about this book. The first 15% I wasn't even sure if I was going to keep reading. Half the family is likeable and lovely and the other half is a bit insufferable. And that continues. And people have some awakenings, but not a lot really happens and the ending is a non-ending so all the things that kept me reading then made me kind of irritated when I finished because there's so little closure. If slightly ambiguous is your thing, you might think this is great. The voice of the narration was different and kind of interesting, tho we never figure out who "we" is. I didn't hate it. I liked pieces. I'm still kind of annoyed.
July 8, 2022
this is a tough one for me because at many times I thought to myself that this book is incredibly boring and slow and all together a waste of time but that didn’t prevent me from finishing it nor did it prevent me from tearing up multiple times towards the end. I saw that it was adapted from a short story and potentially it could have stayed that way? But also it wasn’t terribly long itself and I did finish it in one sitting. ultimately not a complete waste of time but also not my most satisfying read
November 10, 2019
Struggled to make it to page 210 and I can’t make it to the end. We Only Know So Much because nothing actually happens. I expected this story to appeal to my emotions with all the family drama but considering the awful narration and writing style that sounds like a personal rant of complaints I just couldn’t take it... it’s an entitled family full of boring characters that don’t take the story anywhere.
January 22, 2020
WE ONLY KNOW SO MUCH: is an entertaining read. Imagine relationships, desires and life lived by a husband, wife, teenager and eight year old along with the husband’s grandmother and father in residence. Through the book you enter each mind and the complexities of lives lived under one roof while touching each character. Now, toss in a lover, a suicide, a first love and some dementia.... (written 2012)
September 12, 2025
I really enjoyed the idiosyncratic characters, I loved the narrative voice, the only thing that I didn't quite love was the ambiguity. This felt like an extended short story in that way. In a short story I feel as though it is expected that it will extend out into the ether, that we are not guaranteed resolution, that those possibilities are what we leave with. In a novel though, I want some answers, especally when something is teased at halfway though.
June 7, 2018
For the majority of this book, all the characters (with the possible exception of Otis) are so self-absorbed that they are hard to like. Yet somehow I kept reading about this quirky family with its entanglements. I liked the use of the narrative "we" and the recognition that even an omniscient "we"can't know everything about everyone, can't report all angles on all characters.
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