Jennifer DuBois - Cartwheel

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Cartwheel: краткое содержание, описание и аннотация

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Written with the riveting storytelling of authors like Emma Donoghue, Adam Johnson, Ann Patchett, and Curtis Sittenfeld,
is a suspenseful and haunting novel of an American foreign exchange student arrested for murder, and a father trying to hold his family together. Cartwheel 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,
offers a prismatic investigation of the ways we decide what to see—and to believe—in one another and ourselves.
In
, 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.
will keep you guessing until the final page, and its questions about how well we really know ourselves will linger well beyond.
Starred Review
A
Pick for Biggest Books of the Fall • A Pick for
’ Most Anticipated Books of 2013
From
“A tabloid tragedy elevated to high art.”

“[A] compelling, carefully crafted, and, most importantly, satisfying novel.”

Lily Hayes, 21, is a study-abroad student in Buenos Aires. Her life seems fairly unexceptional until her roommate, Katy, is brutally murdered, and Lily, charged with the crime, is remanded to prison pending her trial. But is she guilty, and who is Lily, really? To find answers to these questions, the novel is told from multiple points of view—not only that of Lily but also that of her family; of sardonic Sebastien, the boy with whom she has been having an affair; and of the prosecutor in the case. In the process, it raises even more questions. What possible motive could Lily have had? Why, left momentarily alone after her first interrogation, did she turn a cartwheel? And has she, as her sister asserts, always been weird? In her skillful examination of these matters, the author does an excellent job of creating and maintaining a pervasive feeling of foreboding and suspense.
Sometimes bleak, duBois’ ambitious second novel is an acute psychological study of character that rises to the level of the philosophical, specifically the existential. In this it may not be for every reader, but fans of character-driven literary fiction will welcome its challenges. Though inspired by the Amanda Knox case,
is very much its own individual work of the author’s creative imagination. —Michael Cart

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Suddenly, Lily was on the porch. She knocked the weird knocker (what the hell was that thing, anyway?), and Sebastien answered immediately, as though he’d been standing there, right on the other side of the door, waiting for her—which, for all she knew, he had. He was wearing a jacket, even though it was about a thousand degrees out, and probably even warmer inside.

“Dearest Lily,” he said. “Do come in.”

“Hi,” said Lily. “How’s it going?” She knew she wasn’t going to be able to keep up the email tone in person, and he might as well know it now. She followed Sebastien into the house. Inside, the living room was dusty and ornate, dominated by an enormous grandfather clock and some kind of ancient painted cloth on the wall. At the center of the room stood a grand piano that Lily felt sure was woefully out of tune.

“Pretty piano,” she said. “Do you play?”

“Only ‘Chopsticks,’ ” said Sebastien. “Would you care for a glass of wine?” He handed her one before she could answer. SORBONNE 1967 was etched, in flamboyant swirls, on the glass.

“Oh, thanks,” said Lily. “I can’t drink out of anything from a state school.” With the first sip of wine pain flooded her mandible. She swallowed hard. On the mantel, there was a picture of Sebastien and an older man with a smallish hoofed animal that looked like a first draft of a zebra. She pointed.

“You killed that?”

“I had to, sadly.” Sebastien stood behind her. “It owed me money.”

Lily looked more closely at the picture. The man Sebastien was standing with looked exactly like him; he had greenish eyes and wavy brown hair and a jauntily cocked head. The animal’s neck appeared broken; it was twisted at an odd angle that made it seem as though more violence had been done to it than was strictly necessary. Its belly was white and looked soft. “Where was that?” she said.

“A resort in Brazil. You pay to enjoy your dominion over the beasts.”

Lily wondered what it would have felt like to kill that thing. As a child, she and her good friend Leah had once murdered a banana slug. They had found it in the tree house—Andrew had built Lily and Anna a tree house because Janie had died, which was also why their parents had sent them to art camp, and given them music lessons, and allowed them to be far too present and assertive at adult dinner parties—and she and Leah (who had grown up to be a lesbian at NYU, and who even as a kid had always wanted to play the boy) had taken a fist-sized piece of basalt to it just to see what would happen. They’d been learning about the scientific process together in the second grade—about making observations, and recording data, and making hypotheses, and forming theories—and Lily had convinced Leah, or Leah had convinced Lily, that this was science. There’d been an underwhelming squish; the slug had oozed, relinquished a yellow substance that neither Leah nor Lily could identify, and then died, silently. And Lily had felt something odd then, a guilty but nearly gleeful sort of power—an edginess, somewhere between nausea and euphoria—and of course she’d gone to her mother later, and of course she’d cried, but it had been a complicated sort of cry.

She turned to Sebastien. “Why do you have a French name?”

“Pourquoi pas?”

“How many languages do you speak?”

“I don’t remember.”

“You’re boring, you know.”

He raised his eyebrows. “Am I?”

“You are.”

“Say a little more about that,” he said, refilling her glass.

Lily took another sip. “You’re boring because I know exactly how you’re going to react to every single thing I say. You’re going to look for the least sincere response possible, every time. You’re like an algorithm.” Sebastien gave her a look of incredulous amusement. “So all I would suggest—if you’re open to suggestions—”

“Please. Humility is a virtue.”

“I would suggest that you mix it up a little. You should occasionally say things that have an unexpected relationship to reality. You could even throw in some things you mean, from time to time. Nobody’s going to know. It will make you more interesting.”

Sebastien’s eyebrows were still raised. He did have beautiful eyes—so green and humane and, weirdly, so expressive. He’d get far with those eyes, she thought. Then she told him so. Then he kissed her.

His kiss was more vigorous than Lily would have expected—not that she’d expected him to kiss her, necessarily, though then again here she was, drinking wine, in his house, so really, what did she think? She was grateful for the swiftness of his approach; she thought with chagrin of many an awkward windup, staggeringly embarrassing advance-and-retreats, faces too close to do anything else, and then not quite, and then finally the clink of tooth on tooth, the tepid warmth of another person’s mouth. Awful. She felt confident enough once the whole business was under way, but the first kiss gave her pause. It was just so odd, when you really thought about it.

Sebastien pulled back and looked at her gravely. “Thank you for the suggestions,” he said.

“See?” said Lily. “You’re doing it. I have no idea what you mean. You’re more interesting already.” She’d meant it teasingly, but it came out a little flat, a little mean, she thought, though Sebastien didn’t seem to care. He smiled.

“That roommate of yours,” he said.

“Yes?”

“She’s quite pretty.”

“Yeah.” Lily giggled, then hiccupped. “She has a face you sort of want to keep looking at. I think she’s really insipid, though.”

“Insipid?”

“Yes,” said Lily severely.

“But she’s your friend, isn’t she?”

“My friend? My friend. Well, sure.”

Sebastien kissed her again. “You’re a wicked woman.”

And because she wasn’t wicked—because she wasn’t wicked at all, in fact, she didn’t think—but it was terrific to make someone wonder, she said, “Maybe so. Maybe so.”

Sebastien hurried along the aisles of Pan y Vino bodega. From behind the checkout, the cashier eyed him with amusement; it was obvious that she suspected from what he was buying that he was going to try to cook , and he understood why such a prospect might seem hilarious. As it happened, he was not going to try to cook. He was going to try to order Ethiopian takeout and then arrange the spices from the store in such a way that it looked like he had cooked. He wasn’t going to pretend he’d cooked, necessarily. But he did want to present the feeling of having cooked; he wanted to fill up the house with a sense of domesticity and competence; he wanted to give the impression of being someone who lived an actual life—with ups and downs and commitments, with a vocation and an avocation or two, and a population, and some kind of a cosmic deadline. And all of this was because Lily Hayes was, somehow, coming over for dinner tonight. Again.

Sebastien was surprised she was willing to repeat the experiment; their first evening together had not gone entirely smoothly. An hour before she’d been due to arrive, Sebastien had made the fatal mistake of idly considering what his house might look like to a stranger, and the deeply vexing results of this exercise had thrown him into a panicked despair. He was already bewildered that Lily was coming at all. It was scarcely believable that—through some arbitrary and uncharacteristically magnanimous intervention of the deities—she hadn’t been terrified by his original message, or by the epistolary theatrics that followed; that she’d been willing to treat familiarity with idioms in a variety of languages as some kind of sophistication—even though, after the Internet, familiarity with anything at all could be faked and did not really count; that she’d put up with a week of this nonsense before Sebastien could find the courage to ask her over and had actually said yes when he did. All of it, all of it, was astonishingly good luck.

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