海角大神

How鈥檚 this for a catchy opening: 鈥淢y father鈥檚 wife died. My mother said we should drive down to his place and see what might be in it for us.鈥�

Within the first few pages of Amy Bloom鈥檚 terrifically satisfying new novel, Lucky Us, the narrator鈥檚 mother has dropped off 12-year-old Eva 鈥渓ike a bag of dirty laundry,鈥� leaving the poor girl with her bossy half sister, Iris, a fledgling starlet even at 16, and their unreliable father, Edgar Acton, a man 鈥渨ith fancy manners and nothing else鈥� who has modeled himself on John Barrymore.

Eva鈥檚 maternal abandonment unleashes the 10-year quest for love at the heart of Bloom鈥檚 book. 鈥淚 looked for mothers the way drunks look for bars,鈥� Eva comments with typical clear-sightedness. 鈥淏ig ones, little ones, Italian ones, Negro ones. All I wanted was some soft, firm shoulder to lean against, a capable hand setting me right and making me breakfast.鈥�

Like her last novel, "Away," Bloom鈥檚 new book is an entertaining, moving, quasi-historical escapade featuring a plucky girl who graduates from the school of hard knocks, where she learns to forge her own luck. Set during World War II, 20 years after Away, Bloom鈥檚 latest testament to the importance of even the most unconventional, cobbled-together, makeshift sort of family is populated with what we鈥檝e come to expect from her 鈥� a motley assortment of vibrant characters, mainly outcasts and displaced persons who roll with punch after punch after punch. These are people who repeatedly reinvent themselves and 鈥� here鈥檚 the good luck 鈥� miraculously find each other.

Bloom, who was a psychoanalyst before she became a writer, brings an uncommon sympathy and understanding to all her characters. Although her cast encompasses blacks, whites, straights, gays, lesbians, Mexicans, Germans, Jews, Catholics, Italians, and more, it never feels like she鈥檚 ticking off a politically correct multicultural checklist. Her writing is exuberant, bristling with an ironic sensibility and wry humor. It鈥檚 sassy, heartfelt, and pugnacious. When Edgar鈥檚 caring lover, a black jazz singer named Clara, tells Eva, 鈥淵our father says you鈥檙e the smart one,鈥� she鈥檚 hurt that she isn鈥檛 regarded as 鈥渢he pretty one.鈥� Clara, who assiduously applies makeup every day to cover her blotchy skin, reassures her breezily, 鈥淥h, you can fake pretty.鈥�

Among other things, "Lucky Us" is a book about the up-and-down, push-and-pull relationship between two sisters 鈥� a subject ripe for book group discussion. Eva and Iris, who don鈥檛 meet until adolescence, bond over their disappointing father, 鈥渁 beaker of etiquette and big ideas,鈥� whom Eva ultimately comes to see as 鈥渃lever and shallow. Thin silverplate over nickel.鈥� But they are as different as their two mothers. Iris, 鈥渁 vase of glamour,鈥� wants what she wants at any price, be it stardom or her latest heartthrob: and to hell with the collateral damage. Eva loves books and FDR, and although she鈥檚 not above grumbling about her lot in life 鈥� being pulled out of school at 14, being stuck taking care of her sick father and an orphaned boy 鈥� she does what鈥檚 right. She is the family鈥檚 designated coper, 鈥渢he little brown jug of worry.鈥�

The sisters鈥� odyssey takes them from Windsor, Ohio, to Hollywood, California, where Iris鈥檚 career at MGM is nipped in the bud when she鈥檚 caught kissing another actress. A gay Mexican makeup artist named Francisco Diego comes to their rescue 鈥� not for the last time. When Edgar, too, shows up, Iris comments resignedly, 鈥淣ever a dull.鈥� With Francisco鈥檚 help, Edgar and Iris secure jobs as butler and governess for a nouveau riche Italian family in Great Neck, Long Island. Where other writers might have mocked the Torellis鈥� parvenu pretensions, Bloom has Eva paint them as an enviable 鈥渇airy-tale family鈥� of kind, good people ill at ease with their new social status.

Not all of Bloom鈥檚 characters are so decent. As Eva notes, a Hollywood star who blackballs Iris 鈥渕ade my mother look good.鈥� In the name of passion and ambition, Iris does some appalling things, one of which lands a sweet garage mechanic of German descent in an internment camp for enemy aliens in North Dakota, from which he鈥檚 deported to Germany in 1944 in a POW exchange. Gus Heitmann, a 鈥渕an鈥檚 man鈥� who 鈥渓ooked like he could carry you out of a burning building and ... like the kind of man who would go back to get your poodle,鈥� writes letters to Eva describing his ordeal. In one of them, he compares Americans鈥� passive response to the incarceration of Japanese and German Americans to Germans鈥� passive response to Nazis rounding up Jews. 鈥淲e鈥檙e better than they are, I hear, because we鈥檙e not exterminating a whole people. Future generations will admire our restraint,鈥� he comments sarcastically.

Gus also urges teenage Eva to go to college and not throw away her life reading Tarot cards for a living. He offers other advice that book groups may want to chew over. File this one under What to Look For in a Husband: 鈥淵ou want the guy who鈥檒l get your medicine in the middle of the night, even in a blizzard, even after twenty years. You want the guy who shows you every day, shoveling the walk, carrying your groceries, shows you how much he loves you,鈥� he says. When he adds, 鈥淚t鈥檚 not about talking the talk, Eva,鈥� she comments wryly, 鈥淵ou must have met my father.鈥�

As a skinny, bespectacled 15-year-old newly arrived in New York, Eva identifies with the children she sees playing in a Jewish orphanage: 鈥淭hese were my people: the abandoned, the unloved, the phenomenally unlucky,鈥� she comments. In a convoluted series of events that I鈥檒l leave to the reader to discover, one of the children becomes her charge. The relationship forged between unhappy Eva and this bereft boy is one of the novel鈥檚 most moving narrative strands. As always, Bloom manages to convey emotion without succumbing to mush: 鈥淗e never said that of all the people to wind up with, I was undoubtedly the least equipped, and, overall, the worst,鈥� Eva writes. Then she adds this kicker: 鈥淚 thought it was too bad that he had to be so tactful, so young.鈥�

Eva鈥檚 utterly reliable first-person narrative, which spans the decade from 1939-49, is interrupted periodically by letters from her self-indulgent sister, which are the weakest part of the novel. Iris writes from London, presenting her own, often redundant version of events and pleading for Eva鈥檚 forgiveness for transgressions that are gradually revealed to us. While this counterpoint makes sense in the end, it is Eva鈥檚 chapters that enthrall. As an added bonus, each is headed by a famous song title from the period that captures the zeitgeist of the era. These include 鈥淧ennies from Heaven,鈥� 鈥淪pring Will Be a Little Late This Year,鈥� 鈥淥n the Sunny Side of the Street,鈥� and 鈥淗ow High the Moon鈥� and may have you humming along with Bloom鈥檚 jaunty plot. The relationship between these titles and specific narrative developments could provide a fruitful line of inquiry for book group discussions.

Luck 鈥� good and bad 鈥� is a recurrent theme. At one point, brainy Eva cites a Yiddish expression: 鈥淚t鈥檚 good to be smart, it鈥檚 better to be lucky.鈥� Yet she also notes, 鈥淢y father quoted everyone, from Shakespeare to Emerson, on the subject of destiny, and then he鈥檇 point out that except for the Greeks, everyone agreed: The stars do fuck-all for us; you must make your own way.鈥�

Bloom delivers a similar message 鈥� 鈥淵ou make your own luck鈥� 鈥� in "Away," an excellent companion volume to this novel. Her most recent story collection, "Where the God of Love Hangs Out," also features unlikely couples and unconventional families. In addition, readers may want to check out Grace Paley鈥檚 stories, including "Enormous Changes at the Last Minute," with which Bloom shares a bracing, sharp, serio-comic, immigrant-inflected sensibility.

All of these books feature plucky characters who certainly know how to make their own luck. But talk about good fortune: For their charmed readers, great stories like these are a form of bounty. Lucky us.

Heller McAlpin is a New York-based critic who reviews books for NPR.org, The Los Angeles Times, The Washington Post, San Francisco Chronicle, 海角大神, and other publications.