"The thing is, not all junkies are like you see in the movies."
Things aren't always what they seem, a general theme that seems to be running through my book choices as of late and Sweetgirl by Travis Mulhauser definitely epitomizes this finite rule. There are some difficult scenes, two of which take place within the first few chapters, but to really grasp and appreciate the story, you need to continue reading into chapter four, though I know some readers might feel a strong urge to chuck it before reaching page 30. But, as we all can agree, things aren't always what they seem. Sweetgirl is harsh and unforgiving, but also has heart and serves up a good dose of empathy and humanity.
In the midst of a treacherous snowstorm, Percy James sets out to find her drug addicted mother who hasn't returned home in almost two weeks. Searching an old farmhouse-cum-Meth-lab where her mother was last seen, Percy instead finds a crying baby covered in snow from a nearby window. Knowing she cannot just leave the baby alone in the room with her parents crashed out downstairs, Percy grabs her and runs for help and the hospital. What materializes accumulates faster than the rapidly falling snow, some scenes resulting in that shocked sort of laughter, and some scenes pulling just so on your heartstrings.
Like most books, the story is good enough that you want to know how everything turns out in the end. But, as I said, there are some difficult scenes and Sweetgirl is the first book that I skipped ahead to make sure something didn't happen that I was afraid was going to happen. The dialogue between Percy and Portis is infuriating, and even though I appreciate the hearty dose of humanity, the book reaches a point where we almost know too much about the characters so the story lacks any real suspense until after the first half, but not for lack of trying; like a drama that wants to be a thriller, something just doesn't translate properly.
The description of the setting is often confusing, getting bogged down with street names that don't mean anything to anyone besides the author. There are some scenes, however, where the imagery prevails and things sort of redeem themselves. The first half feels different than the second, like this novel couldn't decide what it wanted to be. It's a short read that isn't terrible but probably not the best thing you've ever read, either. ⭐⭐⭐/5 on goodreads.
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