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Polly MorriceFor readers, sniffing out the parallels between the stories slightly obscures one of the pleasures of reverse narrative—its sense of inexorability, of every action tending toward a certain conclusion. Deftly and quietly, Hoffman tucks in the plot strand that ties together her tragic love stories; but following its thread isn't what keeps readers turning the pages. That honor goes to the young Frieda of the novel's middle section, in part because her brave, direct character is more appealing than insecure Maddy and sad, silent Lucy, and in part because she moves in a time and place many of us might have liked to witness—one where fans screamed to have a glimpse of John Lennon and an air of exotic possibility touched even young hotel maids, who, in their thick eyeliner and minidresses, "looked like a horde of Cleopatras when they went out en masse."
—The New York Times