Should I put this book down for Jewish fiction? Probably not; it’s so nominally Jewish! But I still found it through the Jewish Book Council, so I’m counting it! :P
The publisher is the hybrid She Writes Press, which I’m thinking about more than usual this month (November), because its founder, Brooke Warner, hosts a weekly writing podcast with Grant Faulkner, the director of NaNoWriMo!
I think SWP leaned a bit too heavily into Judaism in their press copy (maybe they tailored it specifically for JBC.) It reads: “Sarah turns to Judaism for guidance” after the death of her infant daughter, and that the novel “suggests that Judaism’s power is not in providing firm answers but rather in guiding us how to act when we’re alive.” Methinks those quotes are doing a lot of heavy lifting for some Jewish-inspired paragraphs that mostly exist in backstory! Although I do appreciate how the title comes from the Hashkivenu prayer.
And ostensibly, I do agree that this novel eschews easy answers and rather just sits with the messy parts of being alive and experiencing grief. The book opens a couple of years after Sarah and her husband, Robert, lose their daughter, Ella, to a freak accident when she’s an infant. Sarah has left her job and provides as a stay-at-home mother to her two boys, though she still struggles often with being emotionally present. Still, she’s in a routine until something jars her out of it—she has a minor car accident after being taken with a young homeless mother and son on the streets of LA. Sarah grows obsessed with these two, ultimately tracking them down and starting a secret relationship with the pair, Josie and Tyler.
It's secret because Robert is understandably wary when Sarah divulges her desire to open their home to these strangers. And secrets are a big part of this book going forward. It’s a rather normal human trait, more like self-sabotaging relationships than anything else, which could turn some readers away from this book and character. I appreciate that Sarah is flawed. Even her interest in Josie seems flawed, selfish, wrapped up in her own angst about family. Diamond, who works with the homeless herself, pops in some examples of how one might volunteer to combat the more systemic issue at play, but Sarah’s feels are about Josie and Tyler specifically.
Sarah ends up driving Josie home due to a dramatic event in her own family, and while away from her husband, she engages in a one-night stand with her high school boyfriend. Again, the affair is understandable to me, because Diamond deftly explored how Sarah and Robert are kind of on their own tracts, and not dealing honestly with their grief together. And Sarah and high school boyfriend have some unfinished business, though I kinda wish this whole thing were more threaded into the story rather than introduced to us as sudden backstory right before we learn of this boyfriend’s existence.
On the topic of criticisms, a couple of the secondary characters—like Sarah’s bitchy neighbor, Sarah’s judgmental mother-in-law, and high school boyfriend himself—were a little too one dimensional for my tastes. I didn’t really believe they were people, beyond the needs of the plot. I also think some of the conflict instigated in more convenient than realistic ways.
On a related note, I may be Team Flawed Characters, but dang was Sarah frustrating in how she refused to own up to the affair (and, to a lesser extent, her relationship with Josie). It’s the lying more than anything that got to me, the way she had all these chances to come clean. Again, it’s natural for people to self-sabotage, but I couldn’t help but think that Diamond was moving towards a redemptive ending. And it felt unearned, in part, because we didn’t really see Sarah or Robert (he had a sudden job-related secret pop up) even ask forgiveness, or go through the other stages of repentance that are still fresh in my mind after reading Rabbi Danya Ruttenberg’s book on the subject. :P Speaking of making this novel much more Jewish in tone!
Still, they ultimately grappled with their grief together, which provided more than enough pathos. We also got to see them, Sarah especially, in the messiness of parenting their sons. The boys’ characterization was a little bit iffy, but methinks it’s very difficult to write the toddler and pre-school aged set. It’s a whole different world!
So yeah, ultimately more good than bad in this book. It was a propulsive read, too. Writing style was a little pedestrian, but the themes certainly elevated it.