So Much Pretty

( 27 )

Overview

Set in a rural community steeped in silence and denial, So Much Pretty explores all parents’ greatest fear, that their child will be hurt. But it also examines a second, equally troubling question: What if my child hurts someone else? The disappearance and murder of nineteen-year-old Wendy White is detailed through the eyes of journalist Stacy Flynn and a host of other richly drawn characters, each with their own secrets and convictions. After Wendy’s body is found, Flynn’s intense crusade to expose a killer ...

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So Much Pretty: A Novel

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Overview

Set in a rural community steeped in silence and denial, So Much Pretty explores all parents’ greatest fear, that their child will be hurt. But it also examines a second, equally troubling question: What if my child hurts someone else? The disappearance and murder of nineteen-year-old Wendy White is detailed through the eyes of journalist Stacy Flynn and a host of other richly drawn characters, each with their own secrets and convictions. After Wendy’s body is found, Flynn’s intense crusade to expose a killer draws the attention of a precocious local girl, Alice Piper, whose story intertwines with Wendy’s in a spellbinding and unexpected climax.

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Editorial Reviews

Marilyn Stasio
In her fearless first novel…Cara Hoffman demolishes our illusions about country life by addressing the problems of poverty, domestic abuse, teenage violence and environmental damage that are threatening to destroy the small communities of rural America…For all the passion in this intense narrative, Hoffman writes with a restraint that makes poetry of pain.
—The New York Times
Booklist

“A mixture of The Lovely Bones and The Girl with the Dragon Tattoo . . . Hoffman’s narrative oscillates between various characters, carefully building suspense, depth, and new insight with every chapter. Let’s hope we will be seeing more of this talented new writer.”
From the Publisher
One of the top ten 'First Fiction' of 2011. - Publishers Weekly
"...dark and chilling... [A] gripping novel..." - Library Journal
"Bruneau succeeds in capturing the voices of the Pipers and their daughter..." - Booklist
"[An] unusual and compelling book...Bruneau effectively builds sympathy for her characters and sustains the listener’s deftly managed misapprehension about where the plot is going." - AudioFile Magazine
"…a haunting, gloomy novel that defies genre…" - NPR
"dark...eerie...potent..." - The New Yorker
"...delivers a skillful, psychologically acute tale of how violence affects a small town...constantly surprising..." - Los Angeles Times
"...a haunting suspense novel..." - Entertainment Weekly, "The Must List"
"Hoffman's writing and insight into her characters are excellent." - Casper Star-Tribune
"easily a contender for book of the year, and makes Hoffman a writer to watch in the future." - Verbicide Magazine
"a captivating tale of life and death in a small town...Hoffman's careful weaving of each storyline is seamless...outstanding." - Examiner.com
"...dark, atmospheric tale of murder in a small-town world has been likened to The Lovely Bones and The Girl with the Dragon Tattoo." - Stylist, "Cult Books of 2012"
"...a skillfully developed story...So Much Pretty succeeds in reaching forth and grabbing its audience in the hope of saving one girl's life, and another girl's future." - The Skinny
"So Much Pretty is everything I love in a novel - dark, fascinating, beautifully written, impossible to put down. It marks the beginning of what promises to be an indelible literary career for Cara Hoffman." - Lauren Grodstein, author of A Friend of the Family
"So Much Pretty is certain to be talked about - not merely because it is a profound meditation on both public and private violence in small-town America, but for its captivating storytelling which draws you in on a visceral level and leaves you feeling haunted, in the best of ways." - Philipp Meyer, author of American Rust
"So Much Pretty is a compelling whodunit, an unnerving portrait of just what the back of nowhere looks like, and an arresting meditation on our culture's ongoing acceptance of violence against women. It's powered by both a despairing tenderness and an unflinching rage, each of which, as the novel makes heartbreakingly clear, are more than justified." - Jim Shepard, author of Like You'd Understand Anyway
Library Journal
Hoffman is a journalist who has reported on rural and Rust Belt poverty, environmental politics, and violence and adolescents. The theme of her first novel is innocence lost and idealism gone wrong. The story focuses on Alice Piper, the precocious daughter of two doctors who leave the big city to work in upstate New York. In the rundown little town of Haeden, things are never what they seem, as the tone of the novel grows more sinister and a young woman disappears. As a psychological thriller, the novel could benefit from being more streamlined in the early chapters. The constant jumping between past and present and various points of view feels too choppy. But the pace quickens as Hoffman brings the story to its dark and chilling conclusion. VERDICT This gripping novel asks readers to judge whether a horrible crime can ever justify a terrible act of revenge. It will engage individuals and book groups interested in debating this tough topic.—Leslie Patterson, Rehoboth, MA
Kirkus Reviews

Hoffman's debut novel takes readers to the unsexy world of rural New York and a farming community with more than one secret.

Stacy Flynn is a reporter covering the tiny town of Haeden. Flynn is on the prowl for the story that will make her name in the field of investigative journalism, and she's decided that Haeden and its acres of dairy farms are just the ticket to an award. Flynn writes and edits the local paper, but she's not a Haeden native. Instead, she moved from Cleveland to take over the town rag, covering football games and pancake breakfasts under the occasional eye of the former editor. But when the body of a waitress and local favorite, Wendy White, turns up, Flynn bites into the story like a starving dog. Something is very wrong with the way the police and the town are treating White's murder, and she's not the only one who thinks that way. But there's another case, a more recent one, and that one really weighs on Flynn's mind. It centers on the most unlikely family imaginable: a pair of disaffected doctors turned hippies and their brilliant little girl, Alice. Unhappy with the way their lives were going in New York City, the Piper family moved to Haeden when Claire and Gene left medicine. Gene, Alice's father, also believes, as does Flynn, that the dairy business is poisoning the water and land for miles around. Told from Gene's, Alice's and Flynn's perspectives, along with those of many others, including the dead girl's, Hoffman's book rotates points of view every couple of pages. Although mostly well written, the story devolves into some snooze-worthy prose, particularly sections detailing agricultural practices and Alice's essays. The author tells the reader over and over that the women in this story are strong and, in the end, she proves it.

Hoffman wanders into the cow pasture a little too often, but the intersection of the lives of two smart young women with a shared consciousness turns what could have been a boring tale into something worth reading.

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Product Details

  • ISBN-13: 9781611200546
  • Publisher: Dreamscape Media
  • Publication date: 3/15/2011
  • Format: CD
  • Edition description: Unabridged
  • Product dimensions: 6.70 (w) x 5.50 (h) x 1.10 (d)

Meet the Author

Cara Hoffman writes skillfully and hauntingly about women's lives, about crime and family and Gothic, rural America. She distills the essence of family into something darkly beautiful and worthy of intimate attention. She has won a New York State Foundation for the Arts Fellowship for her work on violence and adolescents and has worked as an investigative reporter covering New York State's rural and Rust belt communities, where she wrote about environmental politics and crime.

READER BIO
Aimee Bruneau is a 2010 Audies Finalist and an actor, director, professor and student of theater. She earned her MFA in Acting from the American Conservatory Theater. Aimee has been telling tales in Seattle, Washington, for more than a decade. Additionally, she has worked for theaters in Chicago, San Francisco, Savannah, and in southern France.

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Read an Excerpt

Prologue

THEY ARE LOOKING for someone with blond or dark brown or black hair.

Someone with blue or maybe brown or green eyes. She could be five foot six or five-eight. Her hair could also be red, could be an unnatural color like pink or white.

It is likely she weighs between 110 and 140 pounds and may have a scar or bruise on her throat.

She would be working somewhere unseen. Working as a waitress or secretary or laborer. She could be a student. There is a strong possibility she would have a nontraditional job. That she’s transient, works agriculture or construction or second shift.

She has physical strength and is articulate. Could be speaking English or Spanish or French. Could be in New York or Illinois or Tennessee. Canada or Mexico. Places where it rains all day or places where the grass has burnt to yellow. Could be among hollows between road and field, trails where the creek bed has dried. Could be anywhere.

She could be hitchhiking or taking public transportation, could be walking. She could be named Jamie, or Catherine, or Liz. Alexandra, Annie, Maria. Any name at all.

She may be aloof. She may be sensitive and drawn to helping people.

She is on her own and likely broke, and might be reliant on those she doesn’t know.

Searches peaked in the spring and summer months, and they are looking for her still.

As we are well aware, it is easy for a woman who fits this description to just disappear.

© 2011 Cara Hoffman

Claire

ALL THREE OF us walked in our sleep.

Later, when I would think about what happened, I would tell myself she was sleepwalking. Acting out a nightmare. Sleepwalking ran in our family. Dreaming while walking. Dreaming while talking. I know this is not an answer. The real answer is too simple.

Did she have health problems? Was she low–birth weight? Did she have headaches? Self-destructive behavior? Sudden changes in grades or friends? No.

Alice was a remarkably consistent soul. Healthy and athletic like her father. At home wherever she was. Happy at school and happy with all the things outside of school. Gymnastics and trapeze. And later, swimming, building, archery, shooting.

Her focus was so joyful, so intense. Like her happiness, when she was little, about swimming in the river, about building the cardboard forest or the paper Taj Mahal. Once she made a mobile of hundreds of origami frogs, locusts, paper dolls, and butterflies.

She was never bored. Had the same friends at sixteen as she’d had at four. Her teachers talked about how she was a “leader.” It was a word they used often, and this is certainly part of the problem. “A Leader.” But they also talked about how she was sensitive to other children, always so caring.

I am not trying to justify a thing. I am not trying to make excuses for my daughter. I am describing it as it was.

Before April 14, the words “I am Alice Piper’s mother” meant very little to anyone but me. Now those words are a riddle, a koan. A thing I have to understand even though nothing will change, even though the phrase “nothing will change” is something we fought against our entire lives.

The years in which we raised her were marked by diminishing returns for our diminishing expectations. But it hadn’t always been that way.

Things were different in the city. We moved because of Constant’s uncle. Because of Gene’s dreams about land and air and autonomy. But also because of me. Because of traffic and noise and sewer smells and the seventy hours a week I worked at the city’s Comprehensive Free Clinic for the Uninsured on First Avenue.

Prior to moving upstate, Gene and I lived on Saint Mark’s and First Avenue. Then later in a two-bedroom apartment on First and Seventh, with Constant and Michelle Mann, who were also done with their residencies and, like Gene and I, planned on working for Doctors Without Borders. We moved to First and Seventh because of the rooftop, so Gene could have space to plant. In those days everyone but Gene was exhausted—sometimes punch-drunk on three hours of sleep a night, nodding off on the subway coming home from Lenox Hill or staggering bleary-eyed in clogs and scrubs from Beth Israel or CFC. We all felt like the walking dead, knew we were in bad shape, envying Gene, especially later, when he was home all day with the baby. In the end, moving to Haeden was all we wanted.

When we drove out to the house and barn through that wet and green countryside, we were excited. We would finally have a place of our own. The apparent beauty and possibility of it all was overwhelming, something we had tried and failed to build for ourselves the last six years in New York.

Even the double-wides and sloping farmhouses with their black POW and American flags seemed oddly majestic with so much land around them, the tiniest trailers close to creeks or ponds.

As we drove in, I was thinking about Michelle when we worked in the clinic together, saying the responsibility of every intelligent person is to pay attention to the obvious. How had we missed the obvious benefit of all this land? A whole house and acreage for the cost of one room on the Lower East Side. I was thinking how, the second we got out of the car and brought our boxes inside and wrote Uncle Ross his rent check, this whole thing would start. In those days I could not wait for it to start.

Alice was two then, and we walked inside and put our boxes down and sat on the kitchen floor, nervous and tired from the drive, eating some blueberries we had bought on the way. She had just woken up and her face was placid and her hair was tangled and she leaned against me eating blueberries, her body warm and gentle from sleep. Then evening came in from the fields and lit the place with sound and stars. Peepers called up from the river, and crickets played below the windows in the grass. It was the first time Alice had heard crickets, and we went out on the porch together, Gene and I, watched her listen, quiet and alert and hunkered down, her whole body taking in the sound. Her blue-stained lips parted and her eyes shining.

It was Alice’s happiness, her joy in those moments, that allowed me to stay even years after, when paying attention to the obvious became a horror.

And for a long time we did not regret our singular vision. Our attempt to strip the irony from the slogans we’d come to live by. Phrases that buoyed us and embarrassed us at the same time. “Demand the Impossible,” “Beneath the Paving Stones, the Beach,” anarchist sentiments we first took up in the city as a joke, then ultimately to comfort one another, to remind ourselves that we were different from our cohorts. Those words seemed—with all the incessant construction, and the destruction of the natural world, and Gene becoming fixated on “living the solution” and bringing down corporate agribusiness—more poignant at that time than when real revolutionaries scrawled them on the Paris streets in 1968. We might not have been burning cars and shutting down a city, but we were living in the sterile and violent future they had imagined, and we were certainly committed to destroying one culture by cultivating another.

This sensibility was one more way we were sleepwalking, dreaming. We did not stick with our plan. Though all four of us had passed the initial screening process for Doctors Without Borders, only one of us left on assignment. Gene and I were graced with Alice; Constant became plagued by an American concept of freedom, liquidity, mobility. These changes did not seem pivotal at the time, seemed instead the best possible outcome, exciting, a release. And how could we not admit that what we had been looking for by joining Doctors Without Borders was a release. Absolution from the lifestyle our postresidency careers seemed to necessitate, a lifestyle that was making the four of us—and not our colleagues—sick.

Those early years in Haeden were restful. Literally. Luxurious eight- and ten-hour nights. Waking up to quiet and birds instead of traffic. No six a.m. meetings at the clinic. Each season with its own particular beauty.

Bright, quiet winters snowed in and baking bread together, sitting around the woodstove, each of us silently reading. Summers resonant with the hum and staggered harmony of insects. The meadow in front of our house growing tall and strange from the warm rain. Swimming in the river and tending our vegetable garden. Alice could talk pretty well when we moved, and she loved the sounds, imitated them. Never herself, she was a frog, a mermaid, a bird. Radiant fall spent roasting and canning peppers with the smell of wood smoke on the cool air. And spring: Alice’s favorite time in the world, when everything comes back to life and it’s warm, with patches of snow, and we would wear shorts and big rubber boots and celebrate the first snowbells and crocuses. The air was lush and still cold and smelled like mud. Alice loved to run along the mowed path all the way to the river. In those early summers she was no taller than the goldenrod, just a head above the jack-in-the-pulpit that flanked the trails between the barn and woods. She loved to climb in the exposed roots of trees along the pebbled riverbank and collect stones and dried skeletons of crayfish. She was fearless.

We expected after a few years our friends would come, build, plant. Once Constant had made the money he wanted, once Michelle had finished her assignment, we would get back to the land, we would live and drink and work by the ideals we’d always had. Mutual Aid, No Boredom.

We expected, when Alice was bigger, we’d have enough money to have a real farm and for me to go back to some kind of practice. But these things never happened, and paying attention to the darker aspects of the obvious became a bad way to live if we wanted to stay happy and make friends.

Sleep had won out at last. We moved through our days in Haeden in a somnolent kind of daze, blithe when our senses called for panic, blind to our deepest fear, even as it lay, naked among the tall weeds, waiting.

© 2011 Cara Hoffman

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Customer Reviews

Average Rating 3.5
( 27 )
Rating Distribution

5 Star

(9)

4 Star

(4)

3 Star

(9)

2 Star

(2)

1 Star

(3)

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See All Sort by: Showing 1 – 20 of 27 Customer Reviews
  • Posted February 20, 2011

    more from this reviewer

    A profound look at a small western New York town through the eyes of two intrepid outsiders

    In Haeden, New York, Wendy White was a cocktail waitress at a local bar and happy with having her first boyfriend. When she vanished, local law enforcement investigated but never solved her disappearance. The case remains cold while her family grieves their loss. Five months later Wendy's corpse is found.

    Cleveland reporter Stacy Flynn had been in Haeden looking into the impact of the prime employer a dairy on the environment and a high number of deaths. When Wendy's body is found the journalist believes she has a bigger story. However, no one in the small town will talk to her except to insist an outsider is the killer.

    Her parents moved with teenage Alice Piper from New York City to Haeden to provide a healthier lifestyle for their offspring. A genius with an upbeat confidence that the locals consider city swagger, she reads the Ohio reporter's article in the Haeden Free Press on the stratospheric amounts of deadly violence against women. Unable to keep her head in the sands as the natives have done, Alice considers who the killing wolf amidst the sheep is. Even when another brutal crime occurs, the locals are severely shaken but still prefer to believe a stranger committed it.

    This engaging crime thriller looks deeply at cause and effect as the horrific act begets an equally horrific reaction. Once the plot stops switching between 1997-98 and 2007-08-09 (a few chapters in) the story line settles takes off on an exciting dark psychological path. Alice and Stacy separately dig deep into the façade of a safe small-town, whose residents blame a mystical stranger for any acts of violence. Readers will appreciate Cara Hoffman's profound look at a small western New York town through the eyes of two intrepid outsiders.

    Harriet Klausner

    3 out of 3 people found this review helpful.

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  • Posted May 8, 2011

    more from this reviewer

    Difficult to read but likewise filled with moments of beauty...

    Debut novelist Cara Hoffman takes lots of liberties with our hearts--our fears, our uncertainties, and our repressed desires--in her 2011 novel So Much Pretty. Something happens, finally, in the rundown rural upstate New York town where a journalist slowly accumulates evidence of toxic poisoning by the "family-run" corporate-owned dairy farm that dominates the physical and personal landscape of the town. The town's residents, a little strange but vaguely familiar, are given voice through depositions and interviews recorded during and after an undetermined tragedy, the outline of which we slowly perceive. An unconventional chapter format moves the action forward and backward in time, and from person to person, slowly peeling back our notion of rural placidity to reveal the bloody carcass beneath.

    Let me be clear: I can not say I actually enjoyed this book. It was unsettling and disturbing, and we see ugly: sometimes human beings act to give individuals short-term gain at the expense of society's long-term health. It introduced us to folks willing to renounce that unequal equation only to confront it's inescapable impact on their lives anyway. But one can almost hear the hiss of insects in a sunny field, see the glint of sunlight on a cool stream, and feel the bump of butterflies on the walls of a hoop house when dispersed by excited children. These things the author gives us in compensation for the awful truth about two young, pretty, innocent swim team schoolgirls.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted April 5, 2011

    Unpleasant Read

    This was an unpleasant read about unlikeable people. It was readable enough to make me finish it because I wanted to know what had happened to Alice. This is not a book I would recommend to anyone I know and like.

    1 out of 2 people found this review helpful.

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  • Posted March 16, 2011

    HIGHLY RECOMMEND!!

    An extremely well written novel of violence in small town America. A great group of characters.... a great location to set such a violent story. Hoffman feeds you little bits of the main story as you begin to learn more about each of the characters and then delivers a powerful ending. Watch for this one... people will be talking about it.

    1 out of 1 people found this review helpful.

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  • Posted March 14, 2011

    more from this reviewer

    An intelligent and imaginative look at small town life

    his has to be one of the creepiest books I have ever read yet, believe it or not, it was almost impossible to put down. Taking place in a small town called Haeden, located in New York state, So Much Pretty is a very sinister and angry story of denial by residents of this small town who know all about the events that have occurred but absolutely refuse to accept or discuss them. Wendy White was a nice country girl who had just moved out of her family home to try independence on for size. Life was good; she had her first real boyfriend and was working her first real job as a waitress at a local bar when she came up missing. Progress by the local police in solving her disappearance doesn't happen and gradually things go back to normal (or a reasonable facsimile) and the case remains unsolved. Stacy Flynn is a reporter who has moved to Haeden from Cleveland, which was heavy with violence and crime. The "bad side of life" is the last thing that Stacy thinks will be a part of her world in the hamlet of Haeden. After all, this is a small town where a dairy farm is the main employer. However, the population of Haeden is made up of families who have lived there for years, and the last thing they want is for an outsider to come into their community and "mess" things up...which is exactly what Stacy is about to do. As she begins working on a story of the environmental impact of the farm, and how runoff from the farm is likely to poison the people and animals who live on the edges of the town, things begin to unravel for the small town and their best kept secret comes to light. Five months after Wendy White disappeared, her body turns up in a ditch near Haeden, and all of a sudden Stacy has another story to investigate. Nobody in town is anxious to speak with her, and the residents who do state unequivocally that Wendy's murderer is definitely not a local. As Stacy delves into the environmental issues and Wendy's disappearance, she starts to become suspicious of the town and it's people. This story, being more than a little confusing, will make the reader go back and forth - at times liking the plot and then disliking it, depending on the chapter. As a debut novel, there was a ton of thought put into the story and characters, which were certainly true to life where small town communities beliefs', loyalties, and politics are concerned. Quill Says: An intelligent and imaginative look at small town life and the ability to overlook the obvious when it suits your purposes.

    1 out of 1 people found this review helpful.

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  • Posted March 7, 2011

    A Breakthrough Debut Novel That Will Leave You Stunned!

    Cara Hoffman's debut novel, So Much Pretty, is an extraordinarily smart and beautifully written page turner. This suspenseful and highly charged story is of a young woman, Wendy White, who goes missing in the rural town of Haeden in upstate New York. Stacey Flynn, a transplanted reporter from Cleveland, clashes with local townspeople whom she believes know more than they're saying. Alice Piper is the precocious young daughter of transplanted hippies whose idealized dream of country living comes crashing down around them. In no time at all, White's disappearance turns to tragedy and the Piper family is forever changed. Hoffman passionately blends the issue of violence against women that lurks unacknowledged at the dark edges of our culture with a narrative that paints a grim picture of any-town America. Hoffman's literary voice is a force and this novel will leave you reeling.

    1 out of 1 people found this review helpful.

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  • Posted April 3, 2012

    Not an easy book to read. The timeline was nearly impossible to

    Not an easy book to read. The timeline was nearly impossible to follow and parts of the book simply did not make sense. I almost gave up on it. Would have been a good book if it was laid out a little more carefully.

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  • Posted December 19, 2011

    Great Jigsaw

    I try not to give FIVE STARS lightly, but, when judging within the genre of the book, you don't really have a choice with this one. There was great usage of jumping back and forth through time, to reveal the story, and the motivations behind it. This is how, when one reflects on one's own mysteries, things are truly revealed in our own lives. Jumping back and forth as pieces of it become relevant and provide us with clues to our own actions.
    Cara Hoffmann succeeded, not only in delivering a tension-filled plot, but also got you from A to B believably. Once you start to get an inkling of what is going to happen, you wonder how it's going to happen. Most authors settle for a deus ex machina, but SO MUCH PRETTY gets you there believably and organically. I also really liked the usage of "real-life" documents and interviews interspersed within the narrative to add authenticity. When writers can do this effectively, straight-forwardly, it really makes you forget that this isn't really happening. This was done to good effect in WORLD WAR Z.
    Also, concerning the New York doctor clique, and the reasons for some of them moving to the country, could have been too political, too much of a "message" to insert in a book, but these passages and glimpses stemmed from such a real intelligence and character background, that they contributed to the story. To effectively weave these ideologies in, unlike John Twelve Hawks Traveler Trilogy, is also masterful. Thanks for the ride!

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  • Posted June 24, 2011

    Very strange...

    Honestly, I didn't even finish this book. The pace and writing style was strange. I was over halfway through the book and didn't really understand where it was going AT ALL. Most of the chapters were in the past and very confusing to follow. I hoped the further I read, the more I would understand what the hell was going on, but I didn't. I was very disappointed because I read some good reviews on it. I wouldn't recommend to anyone.

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  • Posted June 21, 2011

    more from this reviewer

    a small town crime, but a big time novel

    Something happened to Wendy and the town seems satisfied to ignore it. Everyone, except Stacy Flynn, is willing to go on with their lives. Flynn is the local journalist but an outsider, her story of Wendy's death causes a chain reaction and Alice is right in the middle.

    This murder mystery gripped me right from the beginning. I couldn't put the book down! There is a lot of questions raised on justice, ethics and the doing things for the good of human kind. It explores prejudices within communities, touches on environmental issues and is so realistic that I won't be surprised if I picked up the newspaper and read about Wendy White and Alice Piper.

    The narrative switches from first to third person and from different view points, so the story is fleshed out by all parties. The insertion of the video and audio interviews from some of the minor characters was a great touch and added an extra layer of reality to the book.

    Cara Hoffman did an excellent job in this debut novel.

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  • Posted June 15, 2011

    Okay Beginning, Bad Ending

    I was very disappointed in "So Much Pretty" by the time I reached near the end. In fact, the last thirty pages are unnecessary. I had trouble keeping story lines straight until I realized I needed to pay attention to the dates at the beginning of each chapter. The book would have been more interesting with less about Alice and more about Wendy. To me, there really was no climax. The writing, although tough to follow at times, kept me interested enough to find out more, but I didn't really care by the near end of the book. I'm glad I only borrowed this book and didn't purchase it. It's a shame, since it was recommended and I was really looking forward to reading it.

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  • Posted April 17, 2011

    Excellent story!

    Loved every second of this book! There were some unanswered questions, but that is the nature if this story.

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  • Anonymous

    Posted May 3, 2011

    No text was provided for this review.

  • Anonymous

    Posted April 19, 2011

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  • Anonymous

    Posted April 9, 2011

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  • Anonymous

    Posted July 20, 2011

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  • Anonymous

    Posted June 13, 2011

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  • Anonymous

    Posted December 20, 2011

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  • Anonymous

    Posted April 6, 2011

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  • Anonymous

    Posted April 17, 2011

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