Dr. Frankenstein goes Downtown in D'Amato's ultrachic, ultramodern, rather grotesque first novel. Like the author (son of novelist Barbara D'Amato), narrator Jamie Angelo is a Yale graduate and Manhattan artist; but Jamie's greatest creations are known only to a few. For Jamie's sideline, which has bought him his huge loft and the means to hobnob with hipdom's cognoscenti, is the unlawful creation of beautiful people by means of cosmetic surgery using a secret new plastic and computer-aided modeling. Much of the novel's opening is devoted to a clinical description of Jamie's work on actress and fellow Yalie Penny Penn (read: Jodie Foster). But as rewarding as the Penny project is, Jamie desires the ultimate challenge—to create the ideally beautiful woman. He finds his subject in a performance artist, transforming her into ``Minaz,'' an uncannily exquisite model/actress. Predictably, though, Jamie's work bites back— through sabotage by a greedy partner—and Minaz's face mutates into a cancerous moonscape, forcing Jamie to flee for his life and into a thuddingly ironic resolution. This arch if structurally predictable variation on Mary Shelley's tale forms only the bones of D'Amato's story; its flesh, as patchworked and morally ambiguous as Shelley's beast, consists of Jamie's clever, smug, name-dropping riffs on blood rituals, youth, beauty, decay, zits and how to pop them, art, wealth, poverty (``God, I hate the underclass. I'm sorry to say it, but it's true. They're just so lumpy and bad-looking''), and so on—adding up, no doubt, to a Message about the artificial cast of modern life. Ambitious and crackling with raw intellectual energy, but, like its inspiration, also ungainly, ugly, and perhaps even a little monstrous.
Pub Date: Oct. 1, 1992
ISBN: 0-385-30676-8
Page Count: 336
Publisher: Delacorte
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Aug. 1, 1992
BOOK REVIEW
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
Britisher Swift's sixth novel (Ever After, 1992 etc.) and fourth to appear here is a slow-to-start but then captivating tale of English working-class families in the four decades following WW II. When Jack Dodds dies suddenly of cancer after years of running a butcher shop in London, he leaves a strange request—namely, that his ashes be scattered off Margate pier into the sea. And who could better be suited to fulfill this wish than his three oldest drinking buddies—insurance man Ray, vegetable seller Lenny, and undertaker Vic, all of whom, like Jack himself, fought also as soldiers or sailors in the long-ago world war. Swift's narrative start, with its potential for the melodramatic, is developed instead with an economy, heart, and eye that release (through the characters' own voices, one after another) the story's humanity and depth instead of its schmaltz. The jokes may be weak and self- conscious when the three old friends meet at their local pub in the company of the urn holding Jack's ashes; but once the group gets on the road, in an expensive car driven by Jack's adoptive son, Vince, the story starts gradually to move forward, cohere, and deepen. The reader learns in time why it is that no wife comes along, why three marriages out of three broke apart, and why Vince always hated his stepfather Jack and still does—or so he thinks. There will be stories of innocent youth, suffering wives, early loves, lost daughters, secret affairs, and old antagonisms—including a fistfight over the dead on an English hilltop, and a strewing of Jack's ashes into roiling seawaves that will draw up feelings perhaps unexpectedly strong. Without affectation, Swift listens closely to the lives that are his subject and creates a songbook of voices part lyric, part epic, part working-class social realism—with, in all, the ring to it of the honest, human, and true.
Pub Date: April 5, 1996
ISBN: 0-679-41224-7
Page Count: 304
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 15, 1996
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