SOMEWHAT TO MY surprise, Zink's second novel is a bit more grounded, "normal," and domesticated than her first; family conflicts in Virginia circa 1960-1980, set alternately in a small college town and in the backwoods, easily tracked plot, interesting minor characters, plenty of humorous asides…realism of a familiar sort, then, but nonetheless with a bit of an edge, like A. M. Homes, say.
And as with Homes's May We Be Forgiven, and a good many of the stories in the Ludmilla Petrushevskaya collection I read last month, we have (what I would count as) a happy ending, despite plenty of ingredients for a disastrous, traumatic, scarred-for-life blow-up.
The happy ending of Mislaid is not all the plausible, indeed flies in the face of what would most likely happen in the circumstances created by the plot, but its very implausibility is what redeems it, makes it a wondrous thing. While Mislaid certainly unfolds in the voice and pace of of the realist novel, it ends up seeming akin to Shakespeare's late romances, in which similar potentially traumatic accidents, mistakes, and decisions turn out, years later, to have prepared the ground for forgiveness, reconciliation, and content.
How likely is it that Prospero's betraying brother would fall into his hands years later? That the blindly jealous Leontes would have a chance to be reconciled with the wife whom his suspiciousness had killed sixteen years previously? That after long separations and thinking the other dead, Posthumus would recover Imogen, or Pericles Marina? Not at all likely. Flat out incredible, really. Yet Shakespeare is able to make us see that the world is always more than the likely, more than the plausible. And a good thing it is, too.
Zink manages something like that. And as with Miranda, Marina, Perdita, and Imogen, a young girl shall lead them. Karen Brown, a.k.a. Mireille "Mickey" Fleming, is a Perdita for our times. She's a minor miracle.