Ever since I learnt that the film “Practical Magic” was based on a book by Alice Hoffman, I’d meant to read one of her books. And, although I looked at a few of them online after I discovered this fact, I never got round to buying one.
But, a week or so before writing this review, I was shopping for books online and I suddenly remembered “Practical Magic” but, for cost reasons, ended up getting a second-hand copy of Hoffman’s 1992 novel “Turtle Moon” instead.
So, let’s take a look at “Turtle Moon”. Needless to say, this review will contain some SPOILERS.
“Turtle Moon” takes place in the Florida town of Verity. A town where there is a heatwave every May and strange things happen. This town is also a place where divorced women from across America sometimes find themselves living after they’ve left. One of those women is a former New Yorker called Lucy Rosen, whose twelve-year old son Keith seems to be both the local school bully and a criminal-in-training.
Another of those women is Karen, who used to be called Bethany until she realised that her husband was going to get custody of her daughter. So, she fled New York with the baby, a suitcase full of cash and a fake ID that she got made along the way. She is Lucy’s neighbour, although they only talk to each other occasionally.
Then, one night, Karen is murdered. Both Keith and Karen’s baby daughter are missing. It quickly becomes apparent that Keith has run away with the baby.
The local police, especially their dog handler Julian (a solitary man, tormented by guilt over a car crash that claimed his cousin’s life when he was younger), look into the case. But, in addition to looking for Keith, Lucy also decides to investigate Karen’s past in order to work out who killed her and prevent Keith from falling under suspicion.
One of the first things that I will say about this novel is that it is a masterpiece. Even though it contains many depressing moments – the writing, characters, atmosphere, plot complexity and level of depth in this novel are utterly spectacular. This is a novel that I couldn’t put down during some parts because of the sheer quality of the writing and this is a novel that made me cry (with both joy and poignant sorrow) several times towards the end.
The writing in this story is absolutely beautiful. It is a joy to read 🙂 I haven’t seen writing this good since I read Poppy Z. Brite’s “Lost Souls” about eleven years ago. And, this is about the highest compliment I can pay a writer.
Hoffman writes in a wonderfully flowing, atmospheric, warm and vivid style that is both formal and informal at the same time. The novel’s third-person narration is filled with fascinating details and beautifully artistic metaphors. It is a style of narration that could only have come from 1990s America and it is such a joy to see a writer using this type of narration again so long after I read Brite’s “Lost Souls” all those years ago 🙂
One interesting thing about this novel is that it is actually a noir detective story in disguise. Everything from the focus on the grimly mundane, to the Florida/New York settings, to Lucy and Julian’s investigations, to the premise of the story to some of the later scenes could have easily come from the pages of Raymond Chandler or Dashiell Hammmett. Yes, this story is a bit different to the average noir story, but even so, the influence from the noir genre is surprisingly clear in some scenes.
Another interesting thing about this novel is how it relates to both “The Simpsons” and “Terminator 2: Judgment Day”. Neither of these things are directly referenced but, like both of these things, it features a delinquent boy (Keith Rosen) as one of the main characters. Keith seems to have the spiky hair of Bart Simpson and the troubled background of John Connor.
In the early part of the story, he is the kind of criminal (the narration often refers to him as “the meanest boy in Verity” – initially seriously, then ironically) that could have come from any 1990s tabloid page. Yet, as the story progresses, we get to see that he is actually a nicer and more human person than even he thinks that he is. He also seems to go on some kind of mythical odyssey where, for example, he loses his voice for quite a while. There are also lots of surprisingly heartwarming scenes where he looks after both the baby and a ferocious rescue dog who seems to take a liking to him.
This brings me on to the novel’s characters, and they are all extremely well-written. They all have backstories, flaws, motivations and personalities that really help to bring the novel to life. Seriously, this is one of those novels that has a real sense of humanity to it when it comes to how the characters are described.
In terms of length and pacing, this novel is really good. Whilst the story is neither fast-paced nor slow-paced, the plot and the style of the writing means that it keeps moving constantly. Likewise, the novel is about 275 pages long (in the edition I read) and it is always great to see shorter novels 🙂 The novel feels like no space is wasted and it still feels like a fairly substatial story. Seriously, I miss the days when 200-300 pages was standard for novels.
This novel also contains some rather interesting magic realist elements that work surprisingly well. The most notable of these is probably the ghost of Julian’s cousin, who haunts a tree near a doughnut shop. These elements of the story are kept subtle enough not to break the reader’s suspension of disbelief, and they are also a really good fit with Hoffman’s vivid, descriptive writing style too. In other words, they add to the quirky, dream-like atmosphere of the story without ever really standing out as fantastical.
This novel’s emotional tone is incredibly interesting. Although the first third or so of the novel is filled with nothing but miserable and depressing events/backstory, the beauty and style of the writing helps to keep these parts gripping nonetheless (in addition to preventing them becoming too depressing to read).
Then, as the story progresses, the emotional tone occasionally lightens very slightly – with the novel’s later moments of joy and love being tear-jerkingly poignant in contrast to all of the gloom and bleak misery that has preceded them. Seriously, the last hundred pages or so of this novel made me cry (mostly with joy, but occasionally with poignant sorrow) more times than I could have expected.
In terms of how this twenty seven year old novel has aged, it has aged astonishingly well. Yes, some parts of this story come across as very distinctively ’90s such as the focus on divorces and juvenile delinquency or the infrequent ’90s references (eg: Keith looks a little bit like Bart Simpson, there’s a mention of Guns N’ Roses etc..). But, there’s nothing shockingly dated here and I really loved the “early 1990s America” atmosphere of the book too 🙂
Plus, this story is just as readable and emotionally powerful today as it probably was in 1992. This story is a 1990s story in the best possible way – it’s the kind of lush, vivid, beautiful thing that could only have existed in early 1990s America (kind of like “Lost Souls”). It has a humanity to it that could have only come from the 1990s. When you read this book, you get the sense that it is both old and yet timelessly new at the same time.
All in all, even though this book contains many depressing moments, it is still a masterpiece. Even if it’s the kind of story you normally wouldn’t read, it is well worth reading just to experience the quality and style of the writing. Not to mention that, if you’re a fan of 1990s America, then you’ll love this book too.
If I had to give it a rating out of five, it would get a solid five.