Cartwheel: A Novel

Cartwheel: A Novel

by Jennifer duBois
Cartwheel: A Novel

Cartwheel: A Novel

by Jennifer duBois

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Overview

NAMED ONE OF THE BEST BOOKS OF THE YEAR BY
Slate • Cosmopolitan • Salon • BuzzFeed • BookPage

Written with the riveting storytelling of authors like Emma Donoghue, Adam Johnson, Ann Patchett, and Curtis Sittenfeld, Cartwheel is a suspenseful and haunting novel of an American foreign exchange student arrested for murder, and a father trying to hold his family together.
 
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, Cartwheel offers a prismatic investigation of the ways we decide what to see—and to believe—in one another and ourselves.
 
In Cartwheel, 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. Cartwheel will keep you guessing until the final page, and its questions about how well we really know ourselves will linger well beyond.

WINNER OF THE HOUSATONIC BOOK AWARD • Look for special features inside. Join the Random House Reader’s Circle for author chats and more.

“A smart, literary thriller [for] fans of Gillian Flynn’s Gone Girl.”The Huffington Post
 
“Psychologically astute . . . DuBois hits [the] larger sadness just right and dispenses with all the salacious details you can readily find elsewhere. . . . The writing in Cartwheel is a pleasure—electric, fine-tuned, intelligent, conflicted. The novel is engrossing, and its portraiture hits delightfully and necessarily close to home.”The New York Times Book Review (Editor’s Choice)
 
“Marvelous . . . a gripping tale . . . Every sentence crackles with wit and vision. Every page casts a spell.”—Maggie Shipstead, author of Seating Arrangements

“[You’ll] break your own record of pages read per minute as you tear through this book.”Marie Claire
 
“A convincing, compelling tale . . . The story plays out in all its well-told complexity.”—New York Daily News

“[A] gripping, gorgeously written novel . . . The emotional intelligence in Cartwheel is so sharp it’s almost ruthless—a tabloid tragedy elevated to high art. [Grade:] A-”—Entertainment Weekly
 
“Sure-footed and psychologically calibrated . . . Reviewers of duBois’s first novel, A Partial History of Lost Causes, called it brainy and beautiful, a verdict that fits this successor. . . . As the pages fly, the reader hardly notices that duBois has stretched the genre of the criminal procedural.”Newsday

“The power of Cartwheel resides in duBois’ talent for understanding how the foreign world can illuminate the most deeply held secrets we keep from others, and ourselves.”Chicago Tribune

Product Details

ISBN-13: 9780812985825
Publisher: Random House Publishing Group
Publication date: 05/20/2014
Pages: 416
Product dimensions: 5.10(w) x 7.80(h) x 0.90(d)

About the Author

Jennifer duBois’s A Partial History of Lost Causes was one of the most acclaimed debuts of recent years. It was a finalist for the PEN/Hemingway Award for Debut Fiction, winner of the California Book Award for First Fiction and the Northern California Book Award for Fiction, and O: The Oprah Magazine chose it as one of the ten best books of the year. DuBois was also named one of the National Book Foundation’s 5 Under 35 authors. A graduate of the Iowa Writers’ Workshop, duBois recently completed a Stegner Fellowship at Stanford University. Originally from Massachusetts, she now lives in Texas.

Read an Excerpt

CHAPTER ONE
 
February
 
Andrew’s plane landed at EZE, as promised, at seven a.m. local time. Outside the window, the sun was a hideous orb, bleeding orange light through wavering heat. Andrew was still woozy from his two Valiums and two glasses of wine, the bare minimum that he needed to fly these days—to anywhere, for anything, though especially for here, for this. The irony of being a professor of international relations who was terrified of international travel was not lost on him (no irony was lost on him, ever), but it could not be helped. Neither could it be mitigated by the knowledge—always understood but now finally believed—that the things that go wrong are rarely the things you’ve thought to worry about.
Andrew patted Anna on the shoulder and she roused herself. He watched her forget and then remember what was happening. He was glad he didn’t have to remind her. She pulled her iPod headphones out of her ears, and Andrew caught snatches of some ambient, low-key music—the music of the day was so bloodless, he often thought: Didn’t these kids want anything, and weren’t they mad at anybody?—before she thumbed it quiet. Anna had endured the trip reasonably well—her sensible hair was limp in a ponytail; her nautical stripes, so favored by his students these days, were barely creased. She wore her competence lightly. She didn’t know how terrifying it was to him.
 
“Dad,” she said. “You need to blink.”
 
Andrew blinked, painfully.
 
“Does your corneal abrasion hurt?” she said.
 
“No,” he said. It always hurt. He had poked himself in the eye during class one day—while making a particularly vigorous point about Russian cyber-terrorism in Estonia—and he’d had to go to the ER for a local eyeball anesthetic. Now his eye hurt every morning, every flight, every time he was tired or stressed, which he always would be, now, for the foreseeable future.
 
“Will we see Lily today?” said Anna.”
 
Andrew licked his lips. His eyeballs were so dry that he thought they might tear. The Argentina flights from the East Coast went only once a day, and only from D.C., and it was impossible to get to D.C. in less than seven hours, no matter how you looked at it. Andrew could not, he reminded himself, have gotten here any earlier. “Probably not today,” he said.
 
“Will Mom see her when she comes?”
 
“Hopefully.” Andrew’s voice cracked, and Anna looked at him, alarmed. “Hopefully,” he said again, to show her that the crack had been fatigue, not emotion.
Outside, it was summer, as Andrew had known—but secretly not entirely believed—that it would be. Anna shimmied out of her jacket, her nose crinkling at the smell of gasoline. Inside the airport, the terminal thrummed with travelers. Andrew offered to buy Anna a soda, then rescinded this offer when he spotted the newspaper outside the kiosk—he didn’t have much Spanish beyond what one absorbed through cultural osmosis and a general familiarity with Latinate words, but it was uncomfortably easy to get the gist of the headlines, whether he wanted to or not. Andrew wished desperately to keep Anna away from the newspapers. She knew the contours of the accusation, of course, but Andrew had managed—or thought he’d managed—to protect her from the worst of it. The coverage was only just beginning to leak over to the United States, anyway, and Andrew had spent long hours on the Internet looking for the stories: the depictions of Lily as hypersexual, unstable, amoral; the lurid intimations about her romantic jealousy and rage; the accounts of her smug and towering atheism. The fact that she hadn’t cried—not after Katy was killed and not during the interrogations, either (the Internet had harped on this so much that Andrew had found himself shouting “She’s not a crier! She’s just not a fucking crier!” into the computer). And finally, the worst, most militantly misunderstood information of all: the fact that a delivery truck driver had seen Lily running from the house with blood on her face the day after the murder. No matter that she’d been the one to find Katy; no matter that she’d been the one to kneel over her and try to administer brave and futile CPR. The news reporters weren’t bothering with that information, and Andrew didn’t expect them to start. He was beginning to understand what story they were trying to tell.
 
Announcing that the sodas would be better outside the airport, Andrew maneuvered Anna (rather deftly, he thought) toward baggage claim, where they waited for fifteen minutes in silence. In wrestling the suitcase off the conveyer belt, Andrew accidentally stomped on the foot of an androgynous teenager.
 
“Permiso,” he muttered to the teenager, who was wearing a T-shirt that said SORRY FOR PARTYING. Beside him, Andrew could feel Anna stiffen; Andrew liked to at least know how to apologize wherever he went, but Anna hated it when he tried to speak any language other than English. Two summers ago, in a different lifetime, Andrew had spent three months doing research in Bratislava—his area was emerging post-Soviet democracies, though his job got a little less interesting the more fully the democracies emerged—and afterward the girls had met him in Prague for a week of castles and bridges and beer. Anna had flinched every time he opened his mouth to deploy some phrase he remembered from his three semesters of college Czech. “Dad,” she’d said. “They speak English.” “Well, I speak Czech.” “No. You don’t.” “It’s polite to address people in the local language.” “No. It’s not.” And so on. Lily, on the other hand, had made him teach her as much Czech as he could, and had then thrown it around willy-nilly—mispronounced, absurd, chirping informal greetings at storekeepers who tended to smile at her, even though she was basically insulting them, because she was so obviously well-intentioned. Andrew used to imagine that Lily’s general goodwill, the buoyancy with which she addressed her life, was easily detectable by all people of the world, and that it would protect her. It seemed now that this was not the case.
 
In the taxi, Andrew and Anna passed fruit stands, dingy-looking bars, backfiring motor “cycles. Through the hazy heat, Andrew saw barrios with squat, intersecting systems of housing; clotheslines shimmering with brightly colored clothes; the occasional corrugated tin roof winking astral-bright in the sun. The roads were medium-good; the infrastructure in general seemed decent. Out the window, Andrew saw satellite dishes wedged improbably between houses, looking like the detritus of abandoned spaceships. He saw a large compound, walled and razor-wired, manned by two security guards with walkie-talkies. He craned his neck to see if it was the prison, but it turned out to only be a housing development.
 
“Nothing’s open,” said Anna. She was looking out her own window and did not turn around.
 
“It’s Sunday,” said Andrew. “Very Catholic country.”
 
“It’s too bad that Latin America isn’t your area.”
 
Andrew stared at the back of Anna’s head. She had lately taken to making inscrutable declarative statements in studied neutral tones. Andrew desperately hoped that this was not the onset of irony.
 
“You might get some work done, I mean,” she said.
 
“I don’t know about that.” Andrew was suddenly nauseous, awash with their strange new calamity. There was, of course, no possibility that Lily had actually been involved in any of this; Andrew’s confidence on that point was part of what had made the situation seem, initially, not catastrophic. The accusation was so ghastly and so wild and so patently, transparently, ludicrous that he’d nearly laughed when he first heard of it. Not that there weren’t a few things he could imagine Lily getting justly arrested for. Before she had left, he and Maureen had had a series of sober conversations with her—about the harshness of Latin American drug laws, mostly, as well as the laxity of Latin American sexual safety standards. They’d sent her off with an enormous box of Trojans—industrial-sized, Andrew thought, issued for health clinics or music festivals, no doubt; a box that size could not possibly be intended for the use of a single human being. Andrew reeled to think of how much sex his daughter would have to have to run through all of them. Nevertheless, he had bravely and maturely had the conversation, alongside Maureen (such was their commitment to pragmatism! such was their commitment to co-parenting!), and then bravely and maturely sent Lily off with the box. And Andrew had worried about Lily constantly—he worried about her being kidnapped, trafficked, impregnated, sexually assaulted, afflicted with some horrible STD, arrested for marijuana use, converted to Catholicism, wooed by a long-lashed man with a Vespa. He worried she’d make too few friends, then he worried she’d make too many. He worried that her GPA would suffer. He worried about her bug bites. He worried so much that when there came a call from Maureen—on his work phone in the middle of the day, her voicemail left in a strangled half whisper—Andrew could taste metal in his mouth, so certain was he that something life altering had happened. And when he heard Lily was in jail, his mind flooded with grim visions of drug use and anti-Americanism and political points to be scored. He could imagine how she’d look to everyone (naïve, and entitled, no doubt), and he could easily imagine the incentive for punishing her harshly.
 

Reading Group Guide

1. The first paragraph of Cartwheel ends with a chilling statement: “The things that go wrong are rarely the things you’ve thought to worry about.” Why do you think the author makes such a pronouncement at the beginning of the novel? What does she mean? Is this true in your life?

2. The story in Cartwheel is very much of our time. Lily’s case becomes an international sensation because of Facebook, blogs, and the way shocking news and information can travel around the world within minutes. Social media plays a big role in Cartwheel. Does this change your view of social media? How do you use social media to share details of your life? What about your family members?

3. Why do you think Jennifer duBois chose to tell the story from four points of view? How does that affect the experience of reading it? 

4. At one point, Lily’s sister Anna says “everyone wants to love Lily,” and that she’s always played by different rules. Why does Anna think this?

5. Lily’s father, Andrew, believes “everything vile about your children was to some degree vile about yourself.” Is this a fair statement? Do Lily’s parents fail her, or is this parental guilt?

6. What impact does her sister’s ordeal have on Anna?

7. The title of the book comes from the cartwheel Lily turned between interrogation sessions. Why did the author choose this image as significant? 

8. In what ways are Lily and Katy different? Why does Lily feel Katy’s life was “easy”? Is she being fair?

9. Have you, or someone you know, studied abroad? Do you think it benefits college students to visit other countries? Why do you think Lily wanted to study abroad? What was she looking for?

10. Eduardo, attorney for the prosecution, believes Lily is guilty but that she doesn’t understand why what she did was wrong. Do you agree?

11. Sebastien is an enigmatic character. What do you think Lily is attracted to about him? Where do you think his addiction for obscuring half-irony comes from? What consequences does it have for the unfolding of events?

12. The author uses ambiguity to tell this story. How does that affect your understanding of what happened? Which character do you trust the most?

13. Lily calls her family “repressed,” saying they never learned how to mourn their first child, the sister who died before Lily and Anna were born. Why does she say she and Anna were treated like “replacement children”?

14. Do you believe the whole story comes out at Lily’s trial? 

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