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REED'S BEACH

An unfortunate exercise in self-indulgence disguised as sorrow. Lott (Jewel, 1991; A Dream of Old Leaves, 1989; etc.) gives us an extended portrait of paternal grief so unrelenting and so ultimately barren that the reader ends up nearly as stranded as the housebound couple at the center of the story here. Hugh and Lora Walker have lost their son Michael. He was struck and killed by a car three months ago, and Hugh's initial shock and dismay have crystallized into something so profoundly silent and terrifying that even his boss takes notice. ``Son,'' he tells Hugh, ``I have three boys. I have three of them, grown up and gone. And believe you me, son, you are not okay.'' So he awards Hugh a leave of absence and gives him and Lora the use of his summer house on the Jersey shore. During the single day around which the story moves, Hugh and Lora wander through this strange house by the sea and try to imagine what went wrong. Naturally and not surprisingly, Michael's death turned over a very old log that had settled itself in quite snugly, and it makes Hugh and Lora take a fresh look at all that they have buried down the years. There is the marriage, of course: for years, their son was the main thing they had in common, and it had kept each from noticing how dreary and old the other was becoming. And Hugh's job in payroll, once he stops to think about it, is pretty banal. Lora's reveries have their own edge: they include secrets about herself that she can't reveal to Hugh. So in the end, as in the beginning, neither of them has much to say. Hopeless, plotless, and endless. Lott tries to express an inexpressible sorrow and illuminates almost nothing of his characters or his tale in the process.

Pub Date: Oct. 1, 1993

ISBN: 0-671-79238-5

Page Count: 320

Publisher: Pocket

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: July 15, 1993

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SUMMER ISLAND

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

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LONESOME DOVE

A NOVEL (SIMON & SCHUSTER CLASSICS)

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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