Stories that show death as a piddling health lapse like, say, the flu.
Mixed bag of diabolicals never before seen in the US that may intrigue fans and gain a few new ones.
Though best-known for his endless Necroscope series (Necroscope: Avengers, 2001, plus eleven other behemoths in the series), Lumley first arrived in print as a Lovecraft wannabe with his own Cthulhu horror series that featured Titus Crow and had more action than the master but less style (Titus Crow, Volume One: The Burrowers Beneath and Transition), as mobile sludge bubbled with hellish dreams and babbling madness—the horror, the horror! Folded into his Harry Keogh Necroscope tales are two other long works, including The Psychomech Trilogy, while The Dreamland Series (four volumes) features David Hero and Eldin the Wanderer. All of this is background to the present patchwork, which collects what often read like early bottom-drawer leftovers amateurishly clogged with adverbial excess and far distant in style from the masterful title tale in Fruiting Bodies and Other Fungi (1993). Lumley opens here with three tales of Titus Crow, the psychic detective who later becomes the slayer of varied Lovecraftian aliens and sea-bottom monsters. In “Inception,” though, he’s seen almost at birth as he’s baptized with holy water that contains a mysterious and powerful Middle Eastern elixir that fixes him squarely into his destiny as a destroyer of satanic forces. “The Weird Wines of Naxas Niss” and “Stealer of Dreams” show David Hero and Eldin as agents of the king of the Dreamlands and even offer a whiff of sex. Brand-new are the vampire killer Harry Keogh stories, the Lovecraftian “Resurrection,” and the much longer “Dinosaur Dreams” (with crazy fossils!) and “Dead Eddy,” set in Las Vegas and featuring a dead master gambler still addicted to the music of the slots and the possibility of a last big win.
Stories that show death as a piddling health lapse like, say, the flu.Pub Date: Aug. 1, 2003
ISBN: 0-765-30847-9
Page Count: 320
Publisher: Tor
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 15, 2003
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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