A highly readable sophomore effort.
A novice psychotherapist finds unsettling parallels between a patient’s suicide and her mother’s history, in Barry’s second (The Lace Reader, 2008).
Hepzibah (Zee for short) was named after a Hawthorne character by her father, Finch, a professor who’s obsessed with the transcendentalist author. Her mother Maureen committed suicide by taking strychnine, after a long battle with manic-depression, exacerbated by Finch’s closeted homosexuality and his attraction to the man he nicknamed Melville. Maureen had longed for a star-crossed love, and she left behind an unfinished fairy tale about Purveyance, wife of a Salem sea captain, who, with her soul mate, a lowly sailor, escaped her husband’s brutality. (Zee grew up in the historic Salem home that was once Purveyance’s domestic prison.) Now a doctoral candidate in Boston, Zee sees aspects of Maureen in her bipolar patient Lilly, a suburban homemaker. Lilly tells her of Adam, a carpenter, whom she loves desperately, but who now appears to be stalking them both—Zee’s seen him lurking outside her office. With adjusted meds, Lilly improves, but then leaps to her death from a bridge during rush hour. At Lilly’s funeral, Zee spots a man she recognizes from TV news as a distraught eyewitness to Lilly’s death. More personal woes intrude. Finch’s Parkinson’s disease is worsening, he’s now alienated from Melville (his partner since Maureen’s death) and requires full-time care. Zee returns to Salem, and this town of Wicca practitioners, pirate re-enactors and tall ships, like Friendship, a replica of the vessel on which Purveyance fled, reclaims her. Hawk, the stricken eyewitness, is now crewing on the Friendship and, when Zee enrolls in his celestial navigation class, she’s ineffably drawn to him. Soon the pair are making love in Maureen’s room, beneath the same widow’s walk on which the storied lovers once trysted. Although marred by unnecessary “come-to-realize” moments, this woman-in-jeopardy thriller retooled with gothic elements—shifting identities, secrets and portents, a deserted cottage and a missing suicide note—manages to transcend its component clichés.
A highly readable sophomore effort.Pub Date: May 1, 2010
ISBN: 978-0-06-162478-0
Page Count: 416
Publisher: Morrow/HarperCollins
Review Posted Online: Jan. 2, 2011
Kirkus Reviews Issue: April 15, 2010
Briskly written soap with down-to-earth types, mostly without the lachrymose contrivances of Hannah’s previous titles...
Sisters in and out of love.
Meghann Dontess is a high-powered matrimonial lawyer in Seattle who prefers sex with strangers to emotional intimacy: a strategy bound to backfire sooner or later, warns her tough-talking shrink. It’s advice Meghann decides to ignore, along with the memories of her difficult childhood, neglectful mother, and younger sister. Though she managed to reunite Claire with Sam Cavenaugh (her father but not Meghann’s) when her mother abandoned both girls long ago, Meghann still feels guilty that her sister’s life doesn’t measure up, at least on her terms. Never married, Claire ekes out a living running a country campground with her dad and is raising her six-year-old daughter on her own. When she falls in love for the first time with an up-and-coming country musician, Meghann is appalled: Bobby Austin is a three-time loser at marriage—how on earth can Claire be so blind? Bobby’s blunt explanation doesn’t exactly satisfy the concerned big sister, who busies herself planning Claire’s dream wedding anyway. And, to relieve the stress, she beds various guys she picks up in bars, including Dr. Joe Wyatt, a neurosurgeon turned homeless drifter after the demise of his beloved wife Diane (whom he euthanized). When Claire’s awful headache turns out to be a kind of brain tumor known among neurologists as a “terminator,” Joe rallies. Turns out that Claire had befriended his wife on her deathbed, and now in turn he must try to save her. Is it too late? Will Meghann find true love at last?
Briskly written soap with down-to-earth types, mostly without the lachrymose contrivances of Hannah’s previous titles (Distant Shores, 2002, etc.). Kudos for skipping the snifflefest this time around.Pub Date: May 1, 2003
ISBN: 0-345-45073-6
Page Count: 400
Publisher: Ballantine
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: April 1, 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
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