The upshot: She doesn’t have much of a story, and neither do we.
Rower’s second, as dismal as its predecessor (Armed Response, 1995), trades the former’s West Coast trappings for the Hamptons as the artist/writer narrator tries desperately to turn the dead wives of rival painters William de Kooning and Jackson Pollock into posthumous friends—and straighten out her own life in the bargain. She’s just discovered, after 20 years of living with a man, that she herself is turned on by one of her butch students, and her first off-season sojourn on the upscale side of Long Island, ostensibly to write a book that she’d been working on for years, turns into a full-fledged affair when Iris clomps into her life. But that doesn’t stop her obsession with Elaine de Kooning and Lee Krasner, which translates into daily trips to the cemetery where they’re buried and endless ruminations on how to carry out her scheme. Unfortunately, the Iris thing barely survives the off-season, leaving only a desire for more lesbian loving and foggy notions about Lee and Elaine. Two years later, after she’s finally ditched her lover Jack by tricking him into moving back to his ailing mother in Brooklyn, the Hamptons beckon again, and this time her project involves interviewing as many of Elaine de Kooning’s and Lee Krasner’s friends as she can persuade to see her. With no romantic entanglements, there’s progress of a sort, but for all the success she has insinuating herself among the Hamptons elite, the longed-for hint of a real-life friendship having existed between her subjects never surfaces.
The upshot: She doesn’t have much of a story, and neither do we.Pub Date: March 19, 2002
ISBN: 1-85242-416-8
Page Count: 256
Publisher: Serpent’s Tail
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2002
BOOK REVIEW
A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.
Pub Date: July 11, 1960
ISBN: 0060935464
Page Count: 323
Publisher: Lippincott
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: July 1, 1960
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
Soft-focus story moves right along with few surprises. This time around, Hannah avoids the soap-opera complications of her...
Another middle-aged mom in a muddle.
After years of false starts and big hopes, Elizabeth’s ruggedly handsome husband Jack, a former football star, just landed a spot as a sportscaster on national news. He still loves her, even though much younger women are giving him come-hither looks. Heck, he doesn’t want to betray the love of his life after she helped him kick drugs and stuck by him even when he was a struggling has-been. And won’t it seem hypocritical if he fools around with his sexy assistant while he does in-depth reporting on a rape case involving a famous basketball center? Well, he fools around anyway. Elizabeth, nicknamed Birdie, knows nothing of this, but she withdraws from Jack when her hard-drinking, salt-of-the-earth father has a stroke and dies. Now no one will call her “sugar beet” ever again. Time to return home to Tennessee and contend with Anita, the sort-of-evil stepmother so trashy she wears pink puffy slippers all day long. Naturally, it turns out that Anita actually has a heart of gold and knows a few things about Birdie’s dead mother that were hushed up for years. Mom was an artist, just like Birdie, and an old scandal comes to light as Anita unrolls a vibrant canvas that portrays her secret lover. Perhaps, Birdie muses, her mother died of heartbreak, never having followed her true love or developed her talent. Has she, too, compromised everything she holds dear? Hoping to find out, Birdie joins a support group that promises to reconnect confused women with their passion. She and Jack separate, prompting a how-dare-you fit from their grown daughters. Will Birdie fly her empty nest? Will she go back to college for a degree in art? Will her brooding watercolors ever sell?
Soft-focus story moves right along with few surprises. This time around, Hannah avoids the soap-opera complications of her previous tales (Summer Island, 2001, etc.).Pub Date: July 1, 2002
ISBN: 0-345-45071-X
Page Count: 352
Publisher: Ballantine
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 15, 2002
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