Jane Fortune's fortunes have taken a downturn. Thanks to the profligate habits of her father and older sister, the family's money has evaporated and Jane has to move out of the only home she's ever known: a stately brick town house on Boston's prestigious Beacon Hill. Thirty-eight and terminally single, Jane has never pursued idle pleasures like her sibling and father. Instead, she has devoted her time to running the Fortune Family Foundation, a revered philanthropic institution that has helped spark the careers of many a budding writer, including Max Wellman, Jane's first—and only—love.
Now Jane has lost her luster. Max, meanwhile, has become a bestselling novelist and a renowned literary lothario. But change is afoot. And in the process of saving her family and reigniting the flames of true love, Jane might just find herself becoming the woman she was always meant to be.
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Laurie Horowitz began her career as a lawyer in suburban Boston before moving to California, where she became an agent at Creative Artists Agency. She now divides her time between Santa Monica, California, and the Bitterroot Valley in Montana.From Publishers Weekly:
Based loosely on Jane Austen's Persuasion, Horowitz's cheeky, uneven debut novel follows Jane Fortune, a Bostonian with a romantic crisis. The 38-year-old founder and editor of a prominent literary journal, Euphemia Review, Jane pines for true love while devouring novels and dealing with the financial woes of her once wealthy family, which force them out of their Beacon Hill home. When an enigmatic writer named Jack Reilly submits a brilliant story to a Euphemia contest, Jane is intrigued; when she learns that he lives off the grid, she becomes infatuated and tries to track him down. But Jane still carries a torch for her first love, Max Wellman, a successful novelist who got his start in Euphemia. Jane's narrative voice is natural and lively, but the plot unfolds in fits, careening between Jane's romantic adventures and the Fortune family foibles. Horowitz captures her "lifestyles of the rich and literary" milieu, but otherwise her Austen tribute is transparent and unnecessary; for all the highbrow window dressing, this is pure chick lit, featuring characters with the depth of a teacup and a "girl loses boy, girl finds boy" plot. Horowitz continues the tradition ably, promising plenty as soon as she ditches the lit-crit posturing and embraces her inner Lauren Weisberger. (May)
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