An intriguing premise poorly executed.
Placing a black conservative born into the civil-rights aristocracy at the center of her new novel, Randall (Pushkin and the Queen of Spades, 2004, etc.) explores race in contemporary America.
Abel Jones Jr. is the descendant of activists and artists who fought for African-American dignity and forged comfortable communities for themselves in the midcentury South. Abel dies in the men’s room of the Rebel Yell dinner theater while his white second wife, a one-time country singer, and their children watch actors in gray uniforms reenact the Confederacy’s most glorious moments. As she surveys the high-ranking Pentagon officials and Republican luminaries who assemble for his funeral, Abel’s black first wife, Hope, feels compelled to understand how the man she once loved turned into a self-hating African-American and a darling of the neocon movement. (Abel seems to be an amalgam of Colin Powell and Alberto Gonzales, while another character is clearly based on Condoleezza Rice.) Hope’s search for answers gives this narrative shape, and the author is adept at depicting the complex interactions among races, classes and generations. When Abel’s wife rejects the baked goods and casseroles offered by black Nashville’s matriarchs in favor of a catered buffet—Thai, no less—for Abel’s wake, the reader learns just about everything there is to know about where Abel came from and where he ended up. Unfortunately, Randall is not always so discerning; she devotes an entire paragraph, for example, to her protagonist’s bathroom décor, preferred toothbrush and choice of washcloth. Such pointless details, indulged in again and again, distract from the central, essential mystery: Who was Abel Jones Jr.?
An intriguing premise poorly executed.Pub Date: Oct. 1, 2009
ISBN: 978-1-59691-668-5
Page Count: 384
Publisher: Bloomsbury
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 2009
The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with...
Talk-show queen takes tumble as millions jeer.
Nora Bridges is a wildly popular radio spokesperson for family-first virtues, but her loyal listeners don't know that she walked out on her husband and teenaged daughters years ago and didn't look back. Now that a former lover has sold racy pix of naked Nora and horny himself to a national tabloid, her estranged daughter Ruby, an unsuccessful stand-up comic in Los Angeles, has been approached to pen a tell-all. Greedy for the fat fee she's been promised, Ruby agrees and heads for the San Juan Islands, eager to get reacquainted with the mom she plans to betray. Once in the family homestead, nasty Ruby alternately sulks and glares at her mother, who is temporarily wheelchair-bound as a result of a post-scandal car crash. Uncaring, Ruby begins writing her side of the story when she's not strolling on the beach with former sweetheart Dean Sloan, the son of wealthy socialites who basically ignored him and his gay brother Eric. Eric, now dying of cancer and also in a wheelchair, has returned to the island. This dismal threesome catch up on old times, recalling their childhood idylls on the island. After Ruby's perfect big sister Caroline shows up, there's another round of heartfelt talk. Nora gradually reveals the truth about her unloving husband and her late father's alcoholism, which led her to seek the approval of others at the cost of her own peace of mind. And so on. Ruby is aghast to discover that she doesn't know everything after all, but Dean offers her subdued comfort. Happy endings await almost everyone—except for readers of this nobly preachy snifflefest.
The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with syrupy platitudes about life and love.Pub Date: March 1, 2001
ISBN: 0-609-60737-5
Page Count: 336
Publisher: Crown
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 15, 2001
This large, stately, and intensely powerful new novel by the author of Terms of Endearment and The Last Picture Show is constructed around a cattle drive—an epic journey from dry, hard-drinking south Texas, where a band of retired Texas Rangers has been living idly, to the last outpost and the last days of the old, unsettled West in rough Montana. The time is the 1880s. The characters are larger than life and shimmer: Captain Woodrow Call, who leads the drive, is the American type of an unrelentingly righteous man whose values are puritanical and pioneering and whose orders, which his men inevitably follow, lead, toward the end, to their deaths; talkative Gus McCrae, Call's best friend, learned, lenient, almost magically skilled in a crisis, who is one of those who dies; Newt, the unacknowledged 17-year-old son of Captain Call's one period of self-indulgence and the inheritor of what will become a new and kinder West; and whores, drivers, misplaced sheriffs and scattered settlers, all of whom are drawn sharply, engagingly, movingly. As the rag-tag band drives the cattle 3,000 miles northward, only Call fails to learn that his quest to conquer more new territories in the West is futile—it's a quest that perishes as men are killed by natural menaces that soon will be tamed and by half-starved renegades who soon will die at the hands of those less heroic than themselves. McMurtry shows that it is a quest misplaced in history, in a landscape that is bare of buffalo but still mythic; and it is only one of McMurtry's major accomplishments that he does it without forfeiting a grain of the characters' sympathetic power or of the book's considerable suspense. This is a masterly novel. It will appeal to all lovers of fiction of the first order.
Pub Date: June 1, 1985
ISBN: 068487122X
Page Count: 872
Publisher: Simon & Schuster
Review Posted Online: Sept. 30, 2011
Kirkus Reviews Issue: May 15, 1985
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