A Goodreads friend had introduced me to Kristina McMorris's works awhile back ago and I even added a few of her books to my TBR at the time, but unfortunately never got around to reading them – so when I found out that she would have a new book out in August, I immediately requested an ARC (and happily got approved right away). Even without that though, taking one look at the cover made me already want to read this book. Honestly, who wouldn't be moved even a little bit seeing a little boy on the cover, seated on the grassy floor, his head down, arms over his knees, waiting all by himself with a lone suitcase by his side, the title Sold on a Monday written right above him? As the saying goes, pictures speak a thousand words, and that cover picture, along with the ones described in the book (as well as the original picture in the Author's Note which McMorris explains actually inspired this story), are ones I can't stop thinking about. I don't have any kids of my own, but I have an 8-year-old nephew whom I adore and absolutely can't imagine living without, so it is unfathomable to me to think that a parent (or parents) could sell their children so willingly, regardless of the situation. Looking at those pictures, I was curious and wanted to know more – yes, I wanted to know the story behind the pictures, but beyond that, I wanted an explanation, one that would help me understand the heartbreaking scene in the photographs. Going into this book with these pre-conceived thoughts, I was expecting the story to be deeply emotional, despite the fact that I already knew this wouldn't be the "real" story behind the original photograph, but rather a fictionalized version based on McMorris's own research and interpretation.
Set in the early 1930s in Pennsylvania and later New York, against the backdrop of the Great Depression and its after effects, we follow society reporter Ellis Reed as he tries to scope out a satisfying story to earn his keep at the local newspaper he works for. While on assignment, he snaps a photo of two boys next to a slightly rundown house and only later notices the sign in front that says '2 children for sale'. It is this photograph that becomes the catalyst for the entire story, putting Ellis on a path of events that unfold in the most unexpected of ways. By his side is Lily Palmer, a young mother working as a secretary to the chief at the same noticeably male-dominated newspaper – she befriends Ellis and eventually becomes involved in his story after the haunting image of the children being put up for sale in the photograph triggers memories of her own past.
I was captivated with this story from the start. Compelling and well-written, this story is not simply about Ellis getting his big break in the cutthroat world of a fast-paced and often unforgiving newspaper outlet, nor is it simply about Lily's struggle as an unwed mother who is trying to rise above society conventions and make a life for herself as well as her child. The story is more complex and through the fate of the children, leads us to an exploration of morality and ethics in journalism, but more importantly, pushes us to think about our own perceptions and biases as well as our natural tendency to judge others and at times formulate a quick opinion based on limited knowledge. McMorris did a really great job with the historical aspects of this story, with establishing time and place and relaying with vivid detail various aspects of the newsroom environment, as well as what was going on in society as a whole during that era. I also liked that McMorris tried to incorporate an element of suspense by ending each chapter with a cliffhanger of sorts, which kept me as a reader engaged and continuously turning the pages in an effort to find out what happens next and the eventual fates of the children at the center of the story – Calvin and Ruby – both of whom captured my heart from the beginning. Character-wise, both Ellis and Lily were well-drawn and were characters that I liked as well as rooted for – however for some reason, I found it difficult to connect with either character on an emotional level, which bothered me a bit. Perhaps I was just never convinced about Ellis and Lily's relationship from the getgo, plus my focus from the beginning was on the story of the children, so the romantic element that was added, though not overwhelming, did become a little bit of a distraction. Therefore, while I enjoyed this book overall and it was a good as well as necessary read for me, I didn't "love" it the way I thought I would.
Regardless though, I still highly recommend this one, as it is well worth the time – the insights into society as well as the newsroom politics during that era were wonderfully captured and the story itself also left me with some interesting food for thought. At the back of the book, there is a section entitled "A Conversation with the Author" where McMorris details some of the things that she considered while writing this book and one of things she said about truth in journalism that really resonated with me, but also makes this a very timely read given what we are going through currently in our society: "[I] think it's really important to remember in today's world of viral post and images and sound bites that we all bring our own perceptions to the table. And that inevitably these are skewed by our past experiences or even an unconscious desire to see what we want to see. More than ever, quick judgments based on those snippets, and certainly pushing the moral line in reporting, too often can have devastating consequences to others – as Ellis learned the hard way."
Though this was my first time reading Kristina McMorris's work, it certainly won't be my last. I am definitely looking forward to reading the rest of her books at some point down the line, hopefully sooner rather than later.
Received ARC from Sourcebooks Landmark via NetGalley and Edelweiss.
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