When Emira is apprehended at a supermarket for ‘kidnapping’ the white child she’s actually babysitting, it sets off an explosive chain of events. Her employer Alix, a feminist blogger with the best of intentions, resolves to make things right.

But Emira herself is aimless, broke and wary of Alix’s desire to help. When a surprising connection emerges between the two women, it sends them on a crash course that will upend everything they think they know – about themselves, each other, and the messy dynamics of privilege.

Such a Fun Age by Kiley Reid is a provocative, multi-layered debut novel about race, privilege and the fetishisation of black people. The book is about a black babysitter — 25-year-old Emira Tucker — and her relationship with the white family she works for, exploring white people’s pursuit of being ‘woke’ and how easily they can miss the mark, and not realise they’re doing more harm than good.

Emira is a complex character — wise and confident, but also a little naive and too trusting. She’s just trying to pay her bills and figure out what she wants in life, but her relationship with her boss Alix Chamberlain (a rich, white woman who doesn’t spend as much time with her kids as she should) and her new boyfriend Kelley Copeland (an older white man who seems to give Emira a little too much advice) complicates things.

Narrated in third person, Such a Fun Age explores the race relations and power dynamics between Emira and Alix, and Emira and Kelley. Kiley Reid is incredibly talented at making us despise and also sympathise for both Alix and Kelley. My opinion of the two characters kept changing throughout the book — are they genuine? are they really wanting to help, or are they pushing their own agenda? That’s the beauty of this book.

Ironically, Alix and Kelley spend most of the novel fretting over what Emira — and other black people — think of them, while Emira is just trying to live her life away from intense scrutiny.

“Alix knew that her aspirations for a relationship with Emira were possibly too high because of what she’d seen with her girlfriends and their sitters. Rachel and her nanny, Arnetta, often discussed their divorces, their least favourite children in Hudson’s class, and the most attractive fathers…Alix didn’t know what Emira liked, or what she didn’t like, or how she stayed so skinny, of if she believed in God.”

Amira is not perfect in this story, but I think that’s the point. All of the characters are flawed and all of the characters misunderstand situations, but it’s about how you confront the flaws and the mistakes that makes a difference.

Alix refuses to understand how her actions in high school resulted in a black boy losing his college scholarship, and Kelley refuses to admit how his actions in high school were disrespectful to Alix, and how his fixation on black women is inappropriate. Kelley puts on a persona of being ‘woke’ but he has an obsession with trying to ‘fix’ the problems of every black woman he dates, and that’s problematic in itself. It’s like his life only has validation when he’s trying to ‘help’ others. But Emira is a woman trying to figure out her own life and she doesn’t need anyone to help her.

“Was this cruel? Trying to win a best supporting Oscar as she waited for Emira to learn her flight was cancelled? Who cared, she’d make up for it anyway. The realisation that Emira could have a seat at their Thanksgiving table made Alix practically high. Suddenly, the fourth Thursday in November wasn’t just a holiday. It was four (hopefully five or six) hours to finally make Emira family.”

Pacing is inconsistent in the book. The ending felt very rushed and conversations felt forced. I think the first 50 pages are the weakest in the book, which is sad because I’d hate for readers to be discouraged from continuing the story. Structurally, the book is all over the place in the beginning. We start with Amira being accused of kidnapping the child in the grocery story, and it’s such a powerful chapter and builds incredible tension, and the reader is desperate to find out more.

But then, subsequent chapters are mostly building backstory. In fact, the second chapter is all about Alix’s backstory, which I think could’ve just been woven into the rest of the story. After that explosive opening chapter, the follow up chapter is so lacklustre. The pace slows, the tension disappears, and I think readers will find themselves a little demotivated.

The first 50 pages reflect this sort of yo-yo stylistic device of going back and forth and I think it does the book a disservice. Eventually, the book finds its stride and the pacing and the plot remain consistent, but I think the first few chapters needed more of a structural edit.

“This became Emira’s uniform. Three times a week, Alix came downstairs to find Emira slipping a white polo over her head. She hung it up on the coatrack just before she left. And suddenly, as Alix walked through blue ribbons hanging from the balloons above, the tenderness of this tradition made her throat start to close.”

I think publishing company missed the mark on the UK/AUS cover for this one — it doesn’t quite capture the depth of the story, or the themes explored in the book. It looks like an upbeat, chick lit novel and I think there was room for something bigger than the cover we got.

Thought-provoking, compelling and brave. Whilst this book isn’t perfect, I recommend it for readers of all ages and genders.

Thank you to the publisher for mailing me a review copy in exchange for an honest review.

Such a Fun Age
Kiley Reid
January 2020
Bloomsbury Publishers

You thought your darkest secret was safe.
You were wrong.

It’s been 192 days, seven hours and fifteen minutes since her last drink. Now Astrid is trying to turn her life around.

Having reluctantly moved back in with her mother, in a quiet seaside town away from the temptations and painful memories of her life before, Astrid is focusing on her recovery. She’s going to meetings. Confessing her misdeeds. Making amends to those she’s wronged.

But someone knows exactly what Astrid is running from. And they won’t stop until she learns that some mistakes can’t be corrected.

Some mistakes, you have to pay for . . .

Lesley Kara’s Who Did You Tell? is a gripping psychological thriller about recovering addict Astrid and her attempt to escape past mistakes by returning home to live with her mother. Someone who knows her biggest secret has followed her to the small, seaside town of Flinstead, and intends to make her pay for what she did.

There are two POVs throughout the novel. The main storyline is written in first person by thirty-two-year-old Astrid, who is doing her best to recover from her alcoholism and mend her broken relationship with her mother. After fleeing London, she starts attending AA meetings in Flinstead where she meets Rosie and Helen, two older women who are also recovering alcoholics. She forms a close friendship with Helen, and the two bond of their broken relationships.

The other storyline is an anonymous character whose POV appears sporadically in the novel. That person is tailing Astrid, incredibly angry at her for what she did when she was an addict. That person wants revenge.

“She won’t hear me go out, but still, I can’t take any chances. If she knows I’ve gone, she’ll be on the lookout when I come back. She won’t have me in the house if I’ve been drinking — she’s made that patently clear — and I’ve nowhere else to go. Not any more. No more sofas to crash out on. No more favours to call in.”

Astrid is remorseful and full of regrets, but she’s also hopeful that she can recover from her addiction and steer her life back on the right path. She’s sheepish and lacking in self confidence, and the reader can sense how worried she is about falling off the wagon. A lot of the tension in the novel comes from the possibility of Astrid drinking again, and how that will affect her relationship with her mother.

Over time, Lesley drip feeds us information about Astrid’s past and how she came to be living with her mother in Flinstead. It’s clear that Astrid had alienated everyone in her life and her mother is the last remaining contact she has. Astrid’s past was full of pain and hurt, and she destroyed a lot of relationships and friendships along the way.

“It’s time-consuming, intricate work, but if it was good enough for the Old Masters, then it’s good enough for me, and Richard has already said that I must take as long as I need. He’s not after a rushed job, and neither am I. This house is a labour of love for him. He cares about aesthetics.”

Who Did You Tell? explores themes of guilt and remorse, but also forgiveness, trust and redemption. Astrid wants to get her life back on track, and in Flinstead she starts to build a support network full of people who want her to succeed.

Once Astrid learns to trust others, she can let go of the walls around her and let those people in. She starts to tell the truth, admit her wrongs, and move forward with the right people by her side.

“I wish I hadn’t started this now. It’s all coming out. The wreckage of my life, spilling out in a great ugly heap. I know if I’m going to do this Twelve Step thing properly, then at some point I’m going to have to confess all this anyway, and the rest of it.”

Admittedly, I did find the novel a little predictable. I guessed pretty quickly who the anonymous character was, and I think too many hints were given to the reader. Additionally, at times I found Astrid quite unlikeable — a little too weak and timid?

Suspenseful and fast-paced, Who Did You Tell? will have you desperate to complete. Recommended for fans of crime, thriller and psychological dramas.

Thank you to the publisher for mailing me a review copy in exchange for an honest review.

Who Did You Tell?
Lesley Kara
January 2020
Penguin Random House Publishers

Eleven-year-old Allegra shuttles between her grandmothers who live next door to one another but couldn’t be more different. Matilde works all hours and instils discipline, duty and restraint. She insists that Allegra focus on her studies to become a doctor.

Meanwhile free-spirited Joy is full of colour, possibility and emotion, storing all her tears in little glass bottles. She is riding the second wave of the women’s movement in the company of her penny tortoise, Simone de Beauvoir, encouraging Ally to explore broad horizons and live her ‘true essence’.

And then there’s Rick who lives in a flat out the back and finds distraction in gambling and solace in surfing. He’s trying to be a good father to Al Pal, while grieving the woman who links them all but whose absence tears them apart.

Allegra is left to orbit these three worlds wishing they loved her a little less and liked each other a lot more. Until one day the unspoken tragedy that’s created this division explodes within the person they all cherish most.

Allegra in Three Parts by Suzanne Daniel is a debut coming-of-age story recommended for adult readers, exploring identity and adolescence and the rise of feminism and activism in the 1970s.

Allegra’s mother died when she was very young, so Allegra has been raised by her two grandmothers Matilde and Joy, and her father Rick. Allegra lives with Matilde but Joy lives next door and she and Allegra are very close. The two grandmothers, who were once close, no longer speak to each other because of some past disagreement that has been kept hidden from Allegra.

Predominantly character-driven, Allegra in Three Parts is equal parts entertaining as it is enriching. Suzanne has captured the era vividly, evoking nostalgic responses in readers. It was life before social media and smart phones, where many young children didn’t have televisions and their school teachers were nuns.

“I can split myself in two… something I have to do because of Joy and Matilde. They are my grandmothers and I love them both and they totally love me but they can’t stand each other.”

Allegra in Three Parts is an uplifting, moving novel full of heart and hope. It’s also playful and fun. 11-year-old Allegra’s innocence and curiosity is captured with tenderness and heart. She’s a fantastic protagonist, enticing the reader and keeping them interested until the final page.

I felt that the pacing was quite slow for what was a very minimal plot, but Allegra carries the story with her intrigue and her wonder for the world.

Set in Sydney, domestic violence is rife in Allegra’s neighbourhood. Her best friend Patricia has a violent father, and they’re not the only family looking to escape violence. Allegra in Three Parts features a large cast of strong, independent women who want to be in control of their decisions and their futures. As a result, many people in the neighbourhood — Allegra’s family included — come together to help victims of domestic violence.

“There on a hanger is a pale blue dress. It is the exact same colour — Oriental Blue — that I have loved ever since I first saw Kimberley’s complete set of seventy-two Derwent watercolour pencils when she displayed them, one by one, for show-and-tell in Second Class. It has a cream ruffle on each side of the bodice from the neck to the waist and cream piping around the cuffs.”

Capturing the voice of a tween is no easy feat, particularly when writing a book intended for adults. Sometimes, reading books from the voice of a young child can tire the reader (or perhaps annoy them, depending on the personality of the child), but Allegra is a fascinating character that all readers will enjoy meeting. She’s smart and confident, courageous and incredibly loving.

A few times in the novel I felt the girls in the story — particularly Allegra and Patricia — were a little too wise for their age, recognised in fleeting moments of dialogue between the children and the adults. Other than that, I found the characters incredibly authentic to the era, their ages and their experiences in life.

Recommended for readers of literary fiction, women’s fiction and historical fiction.

Thank you to the publisher for mailing me a review copy in exchange for an honest review.

Allegra in Three Parts
Suzanne Daniel
June 2019
Pan Macmillan Publishers