Awkward analogies (“clouds gathered like councilmen”) and a tendency to indicate Hispanic speakers by substituting “ju” for...


Beset by ghosts, cops, and a nasty tornado, a bank robber and a drifter meet by chance in a picaresque cross-country road trip.

Seventeen-year-old Umberto Santana thinks he’s just pulled off a perfect $300,000 robbery of a Boca Raton bank when he hops on his Honda and flees west. Simultaneously, enigmatic almost-middle-aged Mercury Gant, a former limo driver living on the outskirts of town, wraps himself in a leather Australian cattle-drover’s coat and zooms off on his own motorcycle, a BMW, fleeing from tormenting memories of a double-suicide that might have resulted from an affair he had with a female passenger. Meanwhile, Audrey, a blind, telepathic girl living with her grandmother in a Washington state fishing town wonders whether she’ll ever find her parents. En route, Santana learns that the woman who had a heart attack and died during his robbery was a US senator and that manic, macho FBI Special Agent Eagle Cooper is on his tail. Gant imagines seeing his former lover in impossible places—proof, a fairground fortune-teller informs him, that he’s beset by restless spirits. Shortly after their paths cross, Santana and Gant survive a wild ride in a whirling tornado, a homicidal trucker, a hissing rattlesnake and other over-the-top roadside emergencies, eventually coming to terms with the fate, and the women, awaiting them at the end of their long quest—one that ends with justice and spiritual destiny triumphing in unexpected ways. As Barry Gifford does in his epic Grand Guignol odysseys, first-novelist Rosenfeld paces the long miles between plot twists with garish, violent, and frequently amusing set-pieces about lust and aspirations of numerous minor players, from Santana’s pregnant lover Graciela to Agent Cooper’s randy car-collecting mistress Suzanne.

Awkward analogies (“clouds gathered like councilmen”) and a tendency to indicate Hispanic speakers by substituting “ju” for “you” (“ju kiddin’ me?” etc.) are minor distractions in a zesty, comic, high-speed American gothic.

Pub Date: Sept. 1, 2000

ISBN: 0-312-87455-3

Page Count: 382

Publisher: Forge

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: Aug. 15, 2000

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While a few weeks ago it seemed as if Praeger would have a two month lead over Dutton in their presentation of this Soviet best seller, both the "authorized" edition (Dutton's) and the "unauthorized" (Praeger's) will appear almost simultaneously. There has been considerable advance attention on what appears to be as much of a publishing cause celebre here as the original appearance of the book in Russia. Without entering into the scrimmage, or dismissing it as a plague on both your houses, we will limit ourselves to a few facts. Royalties from the "unauthorized" edition will go to the International Rescue Committee; Dutton with their contracted edition is adhering to copyright conventions. The Praeger edition has two translators and one of them is the translator of Doctor Zhivago Dutton's translator, Ralph Parker, has been stigmatized by Praeger as "an apologist for the Soviet regime". To the untutored eye, the Dutton translation seems a little more literary, the Praeger perhaps closer to the rather primitive style of the original. The book itself is an account of one day in the three thousand six hundred and fifty three days of the sentence to be served by a carpenter, Ivan Denisovich Shukhov. (Solzhenitsyn was a political prisoner.) From the unrelenting cold without, to the conditions within, from the bathhouse to the latrine to the cells where survival for more than two weeks is impossible, this records the hopeless facts of existence as faced by thousands who went on "living like this, with your eyes on the ground". The Dutton edition has an excellent introduction providing an orientation on the political background to its appearance in Russia by Marvin Kalb. All involved in its publication (translators, introducers, etc.) claim for it great "artistic" values which we cannot share, although there is no question of its importance as a political and human document and as significant and tangible evidence of the de-Stalinization program.

Pub Date: June 15, 1963

ISBN: 0451228146

Page Count: 181

Publisher: Praeger

Review Posted Online: Oct. 5, 2011

Kirkus Reviews Issue: June 15, 1963

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Thoroughbreds and Virginia blue-bloods cavort, commit murder, and fall in love in Roberts's (Hidden Riches, 1994, etc.) latest romantic thriller — this one set in the world of championship horse racing. Rich, sheltered Kelsey Byden is recovering from a recent divorce when she receives a letter from her mother, Naomi, a woman she has believed dead for over 20 years. When Kelsey confronts her genteel English professor father, though, he sheepishly confesses that, no, her mother isn't dead; throughout Kelsey's childhood, she was doing time for the murder of her lover. Kelsey meets with Naomi and not only finds her quite charming, but the owner of Three Willows, one of the most splendid horse farms in Virginia. Kelsey is further intrigued when she meets Gabe Slater, a blue-eyed gambling man who owns a neighboring horse farm; when one of Gabe's horses is mated with Naomi's, nostrils flare, flanks quiver, and the romance is on. Since both Naomi and Gabe have horses entered in the Kentucky Derby, Kelsey is soon swept into the whirlwind of the Triple Crown, in spite of her family's objections to her reconciliation with the notorious Naomi. The rivalry between the two horse farms remains friendly, but other competitors — one of them is Gabe's father, a vicious alcoholic who resents his son's success — prove less scrupulous. Bodies, horse and human, start piling up, just as Kelsey decides to investigate the murky details of her mother's crime. Is it possible she was framed? The ground is thick with no-goods, including haughty patricians, disgruntled grooms, and jockeys with tragic pasts, but despite all the distractions, the identity of the true culprit behind the mayhem — past and present — remains fairly obvious. The plot lopes rather than races to the finish. Gambling metaphors abound, and sexual doings have a distinctly equine tone. But Roberts's style has a fresh, contemporary snap that gets the story past its own worst excesses.

Pub Date: June 13, 1995

ISBN: 0-399-14059-X

Page Count: 400

Publisher: Putnam

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: April 15, 1995

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