Four has always been the magic number - three is a crowd and five is too many
too characters to follow. There's Little Women – Meg, Jo, Beth and Amy
(Die Amy Die)-Sorry, I digress, and of course Pride & Prejudice. Then we have contemporary versions-Sex and the City and
Lipstick Jungle. The number four has been a magical in terms of women’s
commercial literature and The Island by
Elin Hilderbrand is no different. The only difference this time is that you
have two generations, each trying to indulge the eccentricities of the other.
Birdie is in the twilight of her life having had the courage
to boot out her indifferent husband in exchange for freedom, a new found set of
rules governing the single life and an acrimonious relationship with her eldest
daughter, Chess. Don’t you just love how American names instantly conjure up
acid washed shorts, lithe bodies and blond hair? Anyway, Birdie invites her
daughter to a week’s holiday to their dilapidated family home in Tuckernuck- an
idyllic island where the birds poop honey and everyone is deliriously happy without
running water, to bond before Chess’s impending nuptials. The engagement falls through and Chess-
think prom queen with a bad attitude, shaves her head and extends the week into
a month. The younger sister, Tate, comes along for the ride along with Birdie’s
own sister Iris, who has her own steamy life to contend with at a ripe old age.
Oh and there is a man, Barret, who comes in and throws it all out of sync as if
it wasn’t already. Old memories soon begin to tiptoe out of the closet while new
skeletons come out doing the salsa and a lot of cat- fighting ensues.
Anyone who has a sister or an extremely close female friend
will acutely relate to the constant undercurrent of sisterly emotions like possessiveness, envy, loyalty, vindictiveness’ and that eerie awareness
of each other which is mostly irritating but always useful. She manipulates
these emotions perfectly to develop her story.
And there is the Island, Tuckernuck- a privately owned
island in Nantucket that Hilderbrand calls pure and simple and without any
static from the outside world. The house plays an important part, each bedroom
owning a space in the novel that tells us more about the character. Hilderbrand
starts off a little sloppy, the dialogue a little predictable, but soon she
sucks us in with fantastic detail, an evolving mystery and snappy repartees
between the two sets of sisters. She leaves us clues like little breadcrumbs
and we find that we really do want to know how it ends. This is a fantastic
monsoon read as you are stuck in on a rainy day with a glass of wine or a cuppa
tea.
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