A punk-rocker of modest renown and a self-styled poet, Hell debuts with a pointless and plotless fiction that lacks either the drug authenticity of a Burroughs or the transgressive aesthetic of an Acker. A junkie's journal, this clumsily written narrative relies on the thinnest of premises: A punk performer named Billy Mud, kept from recording by a record company dispute, is hired to travel cross-country and set down his impressions while his sometime girlfriend takes photos. Despite empty gestures toward literary predecessors (on Baudelaire: ``I identify with him a lot''), Hell, via Mud, mostly poses throughout as a super-studly anti-bourgeois rebel. Mud is so bored (he'd say ``full of ennui'') with his own story that he takes time to describe the physical dimensions of his notebook. And, of course, he describes the new wardrobe he needs if he's to blend in with the normals. Once on the road—no Kerouac he- -he wastes away in motel rooms, planning how to score sex or dope. Luckily, his girlfriend Chrissa is French, so he benefits from the cultural dissonance—i.e., she falls for his tired act. The too- coolly ironic Mud, a self-described ``outlaw,'' detoxes in Reno, but then decides to cop in Denver; he visits his hometown of Lexington, Kentucky, where he and Chrissa bunk with his aunt, whose dirty underwear he sniffs prior to seducing her. When Chrissa catches him with his mother's sister, she catches a plane home: project canceled. Throughout, Mud's stream-of-drug-consciousness writing is laughably incoherent; his observations on drugs equally silly (``Junk is like an orgasm stretched in time''); and his commentary on America revealing of his own limitations (``America feels boring''). As a social critic, Hell sounds more like Paul Simon than Patti Smith. As a writer? Let's just say that rock lyrics aren't poetry, and addled scribbling not a novel. (Author tour)
Pub Date: June 1, 1996
ISBN: 0-684-82234-2
Page Count: 176
Publisher: Scribner
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 1996
BOOK REVIEW
BOOK REVIEW
Above-average formula fiction, making full display of the author’s strong suits: sense of place, compassion for characters...
Female rivalry is again the main preoccupation of Hannah’s latest Pacific Northwest sob saga (Firefly Lane, 2008, etc.).
At Water’s Edge, the family seat overlooking Hood Canal, Vivi Ann, youngest and prettiest of the Grey sisters and a champion horsewoman, has persuaded embittered patriarch Henry to turn the tumbledown ranch into a Western-style equestrian arena. Eldest sister Winona, a respected lawyer in the nearby village of Oyster Shores, hires taciturn ranch hand Dallas Raintree, a half-Native American. Middle sister Aurora, stay-at-home mother of twins, languishes in a dull marriage. Winona, overweight since adolescence, envies Vivi, whose looks get her everything she wants, especially men. Indeed, Winona’s childhood crush Luke recently proposed to Vivi. Despite Aurora’s urging (her principal role is as sisterly referee), Winona won’t tell Vivi she loves Luke. Yearning for Dallas, Vivi stands up Luke to fall into bed with the enigmatic, tattooed cowboy. Winona snitches to Luke: engagement off. Vivi marries Dallas over Henry’s objections. The love-match triumphs, and Dallas, though scarred by child abuse, is an exemplary father to son Noah. One Christmas Eve, the town floozy is raped and murdered. An eyewitness and forensic evidence incriminate Dallas. Winona refuses to represent him, consigning him to the inept services of a public defender. After a guilty verdict, he’s sentenced to life without parole. A decade later, Winona has reached an uneasy truce with Vivi, who’s still pining for Dallas. Noah is a sullen teen, Aurora a brittle but resigned divorcée. Noah learns about the Seattle Innocence Project. Could modern DNA testing methods exonerate Dallas? Will Aunt Winona redeem herself by reopening the case? The outcome, while predictable, is achieved with more suspense and less sentimental histrionics than usual for Hannah.
Above-average formula fiction, making full display of the author’s strong suits: sense of place, compassion for characters and understanding of family dynamics.Pub Date: Feb. 9, 2009
ISBN: 978-0-312-36410-6
Page Count: 400
Publisher: St. Martin's
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Oct. 15, 2008
A strict report, worthy of sympathy.
A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.
"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….
A strict report, worthy of sympathy.Pub Date: June 15, 1951
ISBN: 0316769177
Page Count: -
Publisher: Little, Brown
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: June 15, 1951
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
APPRECIATIONS
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