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THE FATHER

An earnest, even valiant novel that’s strong on ideas but weighed down by a weak plot and dense dialogue.

A multigenerational saga that chronicles the lives and hard times of an American family in the past, present and future.

In his debut novel, Williams tracks the Whitakers from their difficult past in the 1920s Midwest to their dystopian future in the 2050s. The story begins in 1926 with the birth of John, son of Joseph, a hardscrabble Iowa farmer. As time goes by, Joseph scratches out a living as he tries to teach and instill independence in his son. John later forsakes his farming roots to work for a manufacturing company, which heartlessly lays him off years later. John’s son, Morgan, digs ditches with brutish co-workers and bosses before going to college and getting work in North Carolina’s Research Triangle Park. He later becomes disillusioned with corporate life and lights out for Hollywood to try his hand at screenwriting. There things go south after a devastating California earthquake, although he does marry the woman of his dreams and beget a son named John. Later, corrupt politics, a rotten economy, spreading disease and other ills turn the United States into a fascist nuthouse. John sojourns in China but returns to America to try to save his compatriots with a stirring speech at the Lincoln Memorial, only to cause a riot. He winds up before a tribunal at the Library of Congress, berated by his cynical father and a bevy of conservatives, liberals and postmodernists, among others; even the Whitakers’ old home turf in Iowa falls into anarchy. Williams accurately describes what he sees as the many glaring defects of modern America, and offers an evenhanded critique of the media, culture wars, and America’s swift destruction of its physical and psychological environments. His prose shows a great deal of learning, and offers acute observations and occasional wit. But sometimes the book’s reach exceeds its grasp; it skims over many episodes, spanning more than a century in just more than 300 pages, leaving gaps in the plot. Thoughts on religion, politics and philosophy, as delivered through dialogue, sometimes sound stilted and preachy (“Hear the absurdities offered today from political manipulators; scientific illiterates; the cream of our university crop muttering their obsessive prattle”).

An earnest, even valiant novel that’s strong on ideas but weighed down by a weak plot and dense dialogue.

Pub Date: March 26, 2014

ISBN: 978-0615849126

Page Count: 326

Publisher: Combustible Books

Review Posted Online: Sept. 5, 2014

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MAGIC HOUR

Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.

Sisters work together to solve a child-abandonment case.

Ellie and Julia Cates have never been close. Julia is shy and brainy; Ellie gets by on charm and looks. Their differences must be tossed aside when a traumatized young girl wanders in from the forest into their hometown in Washington. The sisters’ professional skills are put to the test. Julia is a world-renowned child psychologist who has lost her edge. She is reeling from a case that went publicly sour. Though she was cleared of all wrongdoing, Julia’s name was tarnished, forcing her to shutter her Beverly Hills practice. Ellie Barton is the local police chief in Rain Valley, who’s never faced a tougher case. This is her chance to prove she is more than just a fading homecoming queen, but a scarcity of clues and a reluctant victim make locating the girl’s parents nearly impossible. Ellie places an SOS call to her sister; she needs an expert to rehabilitate this wild-child who has been living outside of civilization for years. Confronted with her professional demons, Julia once again has the opportunity to display her talents and salvage her reputation. Hannah (The Things We Do for Love, 2004, etc.) is at her best when writing from the girl’s perspective. The feral wolf-child keeps the reader interested long after the other, transparent characters have grown tiresome. Hannah’s torturously over-written romance passages are stale, but there are surprises in store as the sisters set about unearthing Alice’s past and creating a home for her.

Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.

Pub Date: March 1, 2006

ISBN: 0-345-46752-3

Page Count: 400

Publisher: Ballantine

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: Dec. 1, 2005

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THE CATCHER IN THE RYE

A strict report, worthy of sympathy.

A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.

"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….

A strict report, worthy of sympathy.

Pub Date: June 15, 1951

ISBN: 0316769177

Page Count: -

Publisher: Little, Brown

Review Posted Online: Nov. 2, 2011

Kirkus Reviews Issue: June 15, 1951

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