Book Review of Girls with Long Shadows
Review: Girls with Long Shadows by Tennessee Hill
There’s something hauntingly beautiful about the South, isn’t there? The way the humidity hangs in the air, a constant reminder of memories soaked in sunshine and sorrow, draws you in. Tennessee Hill’s debut novel, Girls with Long Shadows, caught my attention for this very reason. The prospect of diving into a Southern Gothic narrative filled with triplets struggling for individuality—a theme that resonates deeply—felt like a must-read experience.
Set in the fictional town of Longshadow, Texas, Hill introduces us to the Binderup triplets: Baby A, Baby B, and Baby C. Their upbringing is steeped in loss; their mother died giving birth to them, leaving Gram, the local lore known as "Manatee," to raise them. This backdrop of grief immediately sets the tone for a story not just about growing up, but about the fierce hunger for identity amidst the shadows of dependency.
Hill’s portrayal of the setting is remarkable. Longshadow exists as a character itself—a murky reflection of the triplets’ struggles. The crumbling golf course, Bayou Bloom, resonates with forgotten dreams and hidden secrets. As the narrator states, “We’d outgrown it, this place, but it refused to outgrow us.” The juxtaposition of natural beauty and stifling insularity truly immerses you in their world. A quote that struck me reads, “The bayou had a grip about it,” capturing the oppressive atmosphere that blankets the sisters’ lives.
Told through the eyes of Baby B, we get a rich exploration of identity and desire. The triplets, despite their identical features, emerge as vividly distinct characters. Baby A’s reckless pursuit of attention, Baby B’s cautious observance, and Baby C’s introspective nature create a dynamic that kept me turning pages with fervor. Hill intricately explores how their collective existence erases individuality, emphasizing the violence of being mistaken for one another. It made me think about identity in my own life, resonating with that universal longing to be seen.
Then enters Pete Martelli, the handsome outsider who sees Baby B. His affection awakens a desperate yearning within her and escalates the tension among the sisters. Hill’s ability to capture teenage desire feels raw and unfiltered; I found myself reflecting on the bittersweet nature of wanting to be wanted. One line, “I wanted to be wanted, maybe more than I wanted to want,” perfectly encapsulates that tumultuous adolescent craving.
However, no story is without its hiccups. While the buildup of tension is masterful, the pacing lags in the middle, particularly during the trial that follows the tragedy. The emotional landscape feels dense but occasionally repetitive, which, while reflecting the nature of grief, can hinder the momentum. The resolution, particularly Baby B’s pivotal choice, feels a bit rushed, leaving me yearning for deeper exploration.
Yet, despite its minor flaws, Girls with Long Shadows is a powerful debut that lingers long after the final page. Hill’s lyrical prose pulls you in, creating a vivid tapestry of love, loss, and the complexities of youthful connection. Readers who appreciate atmospheric storytelling—where plot and prose dance in elegant harmony—will find themselves captivated by the Binderup sisters’ story.
If you’re in search of an evocative Southern Gothic that grapples with identity and grief, Tennessee Hill’s novel is a journey worth taking. It’s a haunting reflection on what it means to find oneself—not just as part of a whole, but as an individual with desires, dreams, and ultimately, a story to tell.
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