The pain of long-held secrets and techniques and the lies vital to keep them are the concern of Bill Clegg’s intricately plotted 2d novel, The End of the Day. Narrated from six points of view, the unconventional spans the late 1960s to the modern for a collection of characters disparate in social class however united through their connections to the circumstances by which one among them entered the world.
After newspaper journalist Hap Foster turns into a brand new father, his joy quick turns to grief when the person he believes is his personal father dies in an unintentional fall. Christopher Foster’s unexpected demise precipitates the unlocking of a vault concealing the trove of secrets this is the story of Hap’s beginning and upbringing.
That story links 3 women: Dana Goss, an upper-magnificence New Yorker whose own family once inhabited an estate in rural Connecticut; Jackie, a working-class lady who turned into Dana’s close youth friend earlier than settling down to elevate her own family in the same small town; and Lupita Lopez, now living in Hawaii, who emigrated from Mexico as a 4-year-vintage and whose family has served Dana’s for plenty years.
The occasions that shadow the rest of their lives occur at a picnic on the night of July 4, 1969, a date Dana comes to think of as “the ultimate day of what she would imprecisely call her youth, a duration where her movements didn’t but have consequences, or if they had, they hadn’t mattered very much.” Clegg discloses those consequences, and Dana’s flawed perception, at a measured pace, slipping easily from the life of one individual to any other and from gift to past, revealing how complete lives had been marked indelibly by using teenage impulses and mistakes. Though Lupita believes at one factor that she is “secure from the truth,” The End of the Day explains with painful readability why, in a few lives, that can by no means be.