Contains elements of a compelling story but seen through a dull lens.

The Quarterback

Ginsberg’s novel depicts the rise and fall of small-town quarterback phenom Joe Sachuck.

Sachuck’s athletic life starts on the kind of quasi-mythical story arc football fans love. He’s said to have a certain spark early on, though Ginsberg resists the temptation to make him an instant hit wherever he goes, from high school to the pros. Instead, there’s respect for the work and personal sacrifices he undertakes as a driven athlete whose only goal is making it to the pinnacle of his profession. Family problems pop up, too, including a convincingly complicated story about his father who alienated the whole family while providing the toughness and dedication necessary for his son to succeed. There are even some solid parallels between Sachuck and Gary Campbell, a loner who sets in motion the trouble that eventually overtakes Sachuck. All the plot points and characters are there, but readers don’t get to see them firsthand. Instead, Ginsberg presents them through the device of a first-person narrator gathering the facts from newspapers, through wooden dialogue, from the Sachuck family and even his own cousin telling the story, giving it the stiff quality of a secondhand story told by someone who may or may not have all of the information. The format also paints the narrator, Fred, as a kind of silent observer who doesn’t seem to serve any real function in the story he’s telling. Characters will sometimes address him by name in dialogue, further removing the audience from actual events. Later on, the story of Campbell’s fall from grace on Wall Street begins and ends in a chapter fewer than two pages long. When Sachuck is drafted by a pro team and goes through grueling training to make the team, readers don’t see Joe slave over his playbook or take a hit on the field; instead, that information is passed on through a conversation with his brother, Tommy. The narrator often quotes a character without giving any kind of setting, making the information feel even more detached.

Contains elements of a compelling story but seen through a dull lens.   

Pub Date: April 1, 2013

ISBN: 978-1484065624

Page Count: 264

Publisher: CreateSpace

Review Posted Online: May 23, 2013

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Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the...

FLY AWAY

Hannah’s sequel to Firefly Lane (2008) demonstrates that those who ignore family history are often condemned to repeat it.

When we last left Kate and Tully, the best friends portrayed in Firefly Lane, the friendship was on rocky ground. Now Kate has died of cancer, and Tully, whose once-stellar TV talk show career is in free fall, is wracked with guilt over her failure to be there for Kate until her very last days. Kate’s death has cemented the distrust between her husband, Johnny, and daughter Marah, who expresses her grief by cutting herself and dropping out of college to hang out with goth poet Paxton. Told mostly in flashbacks by Tully, Johnny, Marah and Tully’s long-estranged mother, Dorothy, aka Cloud, the story piles up disasters like the derailment of a high-speed train. Increasingly addicted to prescription sedatives and alcohol, Tully crashes her car and now hovers near death, attended by Kate’s spirit, as the other characters gather to see what their shortsightedness has wrought. We learn that Tully had tried to parent Marah after her father no longer could. Her hard-drinking decline was triggered by Johnny’s anger at her for keeping Marah and Paxton’s liaison secret. Johnny realizes that he only exacerbated Marah’s depression by uprooting the family from their Seattle home. Unexpectedly, Cloud, who rebuffed Tully’s every attempt to reconcile, also appears at her daughter’s bedside. Sixty-nine years old and finally sober, Cloud details for the first time the abusive childhood, complete with commitments to mental hospitals and electroshock treatments, that led to her life as a junkie lowlife and punching bag for trailer-trash men. Although powerful, Cloud’s largely peripheral story deflects focus away from the main conflict, as if Hannah was loath to tackle the intractable thicket in which she mired her main characters.

Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the pages turning even as readers begin to resent being drawn into this masochistic morass.

Pub Date: April 23, 2013

ISBN: 978-0-312-57721-6

Page Count: 416

Publisher: St. Martin's

Review Posted Online: Feb. 18, 2013

Kirkus Reviews Issue: March 1, 2013

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Dated sermonizing on career versus motherhood, and conflict driven by characters’ willed helplessness, sap this tale of...

FIREFLY LANE

Lifelong, conflicted friendship of two women is the premise of Hannah’s maudlin latest (Magic Hour, 2006, etc.), again set in Washington State.

Tallulah “Tully” Hart, father unknown, is the daughter of a hippie, Cloud, who makes only intermittent appearances in her life. Tully takes refuge with the family of her “best friend forever,” Kate Mularkey, who compares herself unfavorably with Tully, in regards to looks and charisma. In college, “TullyandKate” pledge the same sorority and major in communications. Tully has a life goal for them both: They will become network TV anchorwomen. Tully lands an internship at KCPO-TV in Seattle and finagles a producing job for Kate. Kate no longer wishes to follow Tully into broadcasting and is more drawn to fiction writing, but she hesitates to tell her overbearing friend. Meanwhile a love triangle blooms at KCPO: Hard-bitten, irresistibly handsome, former war correspondent Johnny is clearly smitten with Tully. Expecting rejection, Kate keeps her infatuation with Johnny secret. When Tully lands a reporting job with a Today-like show, her career shifts into hyperdrive. Johnny and Kate had started an affair once Tully moved to Manhattan, and when Kate gets pregnant with daughter Marah, they marry. Kate is content as a stay-at-home mom, but frets about being Johnny’s second choice and about her unrealized writing ambitions. Tully becomes Seattle’s answer to Oprah. She hires Johnny, which spells riches for him and Kate. But Kate’s buttons are fully depressed by pitched battles over slutwear and curfews with teenaged Marah, who idolizes her godmother Tully. In an improbable twist, Tully invites Kate and Marah to resolve their differences on her show, only to blindside Kate by accusing her, on live TV, of overprotecting Marah. The BFFs are sundered. Tully’s latest attempt to salvage Cloud fails: The incorrigible, now geriatric hippie absconds once more. Just as Kate develops a spine, she’s given some devastating news. Will the friends reconcile before it’s too late?

Dated sermonizing on career versus motherhood, and conflict driven by characters’ willed helplessness, sap this tale of poignancy.

Pub Date: Feb. 1, 2008

ISBN: 978-0-312-36408-3

Page Count: 496

Publisher: St. Martin's

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Nov. 1, 2007

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