Vandiver’s debut, which launches a character-driven series, has plenty of local color and interesting tidbits on Creole...
A small-town girl returning to her roots becomes a reluctant sleuth.
Romaine Wilder, who’s lost her job as a Chicago medical examiner and ended her affair with a married man, returns to East Texas to live with the aunt who raised her. Auntie Zanne is French Creole; the owner of a successful funeral home, she’s a small-town busybody whose plans for Romie don’t include a return to Chicago. They return to her childhood home at the funeral parlor to find Zanne’s dearest friend, Josephine Gail Cox, extremely upset and almost nonresponsive, standing in the pouring rain as Romie’s cousin, Sheriff Pogue Folsom, arrives to investigate a possible murder. Josephine may be depressed, but she knows which dead bodies belong in funeral homes and which ones don’t, and the one she found in the basement, cause of death unknown, ready to be cremated does not belong. With Pogue, who suspects Josephine of the killing, set to leave for training and the local medical examiner sick, Romie and Zanne take over the investigation. While she tries to keep Zanne’s worst impulses in check, Romie gets reacquainted with old friends and meets some new ones. She’s pressed into helping Zanne with a local festival and making crawfish pies for the band Zanne’s sponsoring. The identification of the dead man by his fingerprints gives the odd couple a sharper focus in their quest for clues. Uncovering the secrets everyone wants to remain hidden is just what Romie and Zanne need to do to solve the crime.
Vandiver’s debut, which launches a character-driven series, has plenty of local color and interesting tidbits on Creole history though not much of a mystery.Pub Date: June 12, 2018
ISBN: 978-1-63511-349-5
Page Count: 260
Publisher: Henery Press
Review Posted Online: May 14, 2018
Kirkus Reviews Issue: June 1, 2018
BOOK REVIEW
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
The phrase “tour de force” could have been invented for this audacious novel.
Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives.
Yanagihara (The People in the Trees, 2013) takes the still-bold leap of writing about characters who don’t share her background; in addition to being male, JB is African-American, Malcolm has a black father and white mother, Willem is white, and “Jude’s race was undetermined”—deserted at birth, he was raised in a monastery and had an unspeakably traumatic childhood that’s revealed slowly over the course of the book. Two of them are gay, one straight and one bisexual. There isn’t a single significant female character, and for a long novel, there isn’t much plot. There aren’t even many markers of what’s happening in the outside world; Jude moves to a loft in SoHo as a young man, but we don’t see the neighborhood change from gritty artists’ enclave to glitzy tourist destination. What we get instead is an intensely interior look at the friends’ psyches and relationships, and it’s utterly enthralling. The four men think about work and creativity and success and failure; they cook for each other, compete with each other and jostle for each other’s affection. JB bases his entire artistic career on painting portraits of his friends, while Malcolm takes care of them by designing their apartments and houses. When Jude, as an adult, is adopted by his favorite Harvard law professor, his friends join him for Thanksgiving in Cambridge every year. And when Willem becomes a movie star, they all bask in his glow. Eventually, the tone darkens and the story narrows to focus on Jude as the pain of his past cuts deep into his carefully constructed life.
The phrase “tour de force” could have been invented for this audacious novel.Pub Date: March 10, 2015
ISBN: 978-0-385-53925-8
Page Count: 720
Publisher: Doubleday
Review Posted Online: Dec. 21, 2014
Kirkus Reviews Issue: Jan. 1, 2015
BOOK REVIEW
BOOK REVIEW
PROFILES
PERSPECTIVES
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