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In flight from her own messy sexual affairs, Miranda is intrigued by the "threeness" of Julia, Chicky and Rachel, "like crass, mall rat versions of Chekhov's sisters, they seemed utterly different yet very much at ease with one another". Her relentless curiosity extends to their parents, lovers and friends. Gradually Miranda seduces the town and those not seduced are scandalised. None are safe from the emotional upheavals sparked by Miranda's search for the personal tragedies and family secrets on which the small town is built. For some, the consequences will be fatal. For all, they will be irreversible.
The small town, sweltering landscape and unforgiving city are unnamed in The New Girl, giving the novel the enduring feel of a modern fable. Against this archetypal landscape, the emotional terrain of Perkins' characters is sharply drawn in a story that makes tangible the points of connection and rupture between people and their often oblivious impact on each other. In a style that crackles with the hormonal electricity of youth, Perkins has captured exactly the aching expectation of young women on the brink of adulthood. The intimate "threeness" of Julia, Chicky, Rachel--and all their school friends--is challenged at exactly that fork in the road where their deeply entwined amity and enmity is finally divided over who wants to stay and who wants to go. By tracing the pathways of those who attempt to get away, Perkins ensures that the difficulties of escape and the brittle realities of urbanity are not sentimentalised. --Rachel Holmes
272 pages, Hardcover
First published April 6, 2001