BookBrowse Reviews The Names by Florence Knapp

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A brilliant debut novel explores how a name can shape a family's future.

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The prologue of Florence Knapp's marvelous debut, The Names, begins on October 16, 1987, the day after the Great Storm hit England. We meet Cora, a young woman of Irish descent, as she and her nine-year-old daughter, Maia, push a pram through the debris, walking to a government office to officially register her new son's name. As the pair struggle along, they discuss what the child should be called. The baby's father, a well-respected physician, expects him to be named Gordon after himself and his son's grandfather. Cora's husband is abusive, however, as was his father, and she has unvoiced concerns that calling her son Gordon will perpetuate that "family tradition" as well. (She thinks to herself, "Do you not see that calling our son Gordon might mean he ends up like you?") Cora would prefer the name Julian, while Maia thinks Bear would be a wonderful name ("It sounds all soft and cuddly and kind ... But also, brave and strong.")

The section ends with Cora hesitating as she's about to fill in the baby's name on the paperwork. At that point, the plot splits into three parallel storylines, each of which follows the repercussions of Cora's choice. After we get an insight into each set of lives—Bear's family, Julian's, and finally Gordon's—the narrative skips ahead in seven-year chunks, revisiting the characters until Bear/Julian/Gordon turns 35.

The idea that one minor decision can influence the trajectory of someone's life is not new (there's even a fiction sub-genre called "sliding-door novels," named after a movie starring Gwyneth Paltrow that explored the notion). Knapp's treatment of this concept, however, is remarkable. She postulates that Cora's selection changes not only her son's future but also that of each member of the family, which in turn impacts those around them in a far-reaching web. Her husband's reaction to each name, in particular, sends each timeline careening in a wildly different direction.

Some aspects of the characters' lives are constant across all three stories, but even these traits differ depending on which name was chosen; Maia is gay in each, but she's strong and confident in one timeline, unsure of her sexuality in another, and completely closeted in the third. Part of what makes the novel so unputdownable is that many of the characters' actions are unpredictable, yet completely logical; we can see why each makes the decisions that they do, even if the choices surprise us.

Supporting characters add nuance, appearing in each tale to a greater or lesser degree depending on the direction their plot has taken (e.g., in one, Cora's mother is hugely influential, while in another she's barely mentioned). Although the cast is fairly large, no character is superfluous; each fills a vital role with his or her presence (or lack thereof) and all are drawn with impressive depth.

In addition to simply being a fascinating thought experiment—an exploration of "what if"— each storyline is engrossing in its own right. The book is almost like three exceptionally well-written novellas. Readers get wrapped up in the drama of whether Bear's romantic relationship will work out and if Julian will ever find his niche, for example.

One of the narrative's constants is that Cora is physically abused in all of the plotlines, and in some instances Knapp's descriptions are hard to read. It's particularly wrenching as readers watch the character overcome her circumstances in one story but not in the others; we grieve for her all the more because we've seen exactly what her life could have been like.

My only caveat is that due to the book's structure it's easy to confuse the three timelines. There's a Gordon, Cora, and Maia in each, but they're completely different characters with varying experiences depending on whether we're reading the chapter about Bear, Julian, or Gordon. Several times I had to stop and try to recall who was who, and about halfway through I started wishing I'd kept notes on the characters. This isn't a flaw in the author's technique, since given the parallel timelines there's really no avoiding this issue, but readers should be aware that this book may require more concentration than some.

I've been fortunate to have read many truly excellent books this year, but The Names has risen to the top of my list. I was awed by the author's technical prowess in creating such a unique, captivating novel, and surprised at how much I thoroughly enjoyed the plot and the characters. I highly recommend it to late-teen audiences and above, and I think that it would spark some great book group discussions as well.

This review first ran in the May 21, 2025 issue of BookBrowse Recommends.