WHISPER

Doty's follow-up to What She Told Him (1984) and Fly Away Home (1982) is the strange but compelling tale of a woman who attracts her lovers through the stories she tells—alluring fiction in the urban-gothic tradition, as brilliantly controlled as it is entrancing. For years, Ben Hastings has enjoyed the good life in Manhattan as a top executive and heir to his father's investment firm, with a beautiful wife and house in suburban Long Island. His perfect routine is disrupted, however, the day his father collapses on an upper Manhattan street, suffers a stroke, and winds up in a coma in a hospital bed. While visiting his father, Ben notices the hovering presence of a mysterious white-haired woman and experiences a compelling urge to learn her identity. When he manages to surprise her at his father's bedside, she tells him her name is Dorothea, and then begins the first of a series of dreamy, gothic-style stories whose mystery and wonder draw Ben first to her Manhattan apartment and, eventually, to her bed. So entranced does Ben become by Dorothea's accounts of her peripatetic childhood in New York, Paris, and the English countryside, her decadent, aristocratic parents, and her frequent encounters with death in its many guises that the investment banker begins to neglect both his business and his former, arid life in the suburbs. Even the discovery that Dorothea was his father's longtime mistress—a fact Ben has suspected all along—fails to discourage him from selling the business after the patriarch's death, deserting his wife, and moving into Dorothea's womb-like home. Whether or not the tales she spins are true is beside the point—it's the potency of the storyteller's imagination that holds Ben captive, and the power of letting go is hers alone. Masterful writing that itself enthralls the reader and leaves one wanting more.

Pub Date: Feb. 1, 1992

ISBN: 0-684-19287-X

Page Count: 288

Publisher: Scribner

Review Posted Online: April 25, 2011

Kirkus Reviews Issue: Nov. 15, 1991

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Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the...

FLY AWAY

Hannah’s sequel to Firefly Lane (2008) demonstrates that those who ignore family history are often condemned to repeat it.

When we last left Kate and Tully, the best friends portrayed in Firefly Lane, the friendship was on rocky ground. Now Kate has died of cancer, and Tully, whose once-stellar TV talk show career is in free fall, is wracked with guilt over her failure to be there for Kate until her very last days. Kate’s death has cemented the distrust between her husband, Johnny, and daughter Marah, who expresses her grief by cutting herself and dropping out of college to hang out with goth poet Paxton. Told mostly in flashbacks by Tully, Johnny, Marah and Tully’s long-estranged mother, Dorothy, aka Cloud, the story piles up disasters like the derailment of a high-speed train. Increasingly addicted to prescription sedatives and alcohol, Tully crashes her car and now hovers near death, attended by Kate’s spirit, as the other characters gather to see what their shortsightedness has wrought. We learn that Tully had tried to parent Marah after her father no longer could. Her hard-drinking decline was triggered by Johnny’s anger at her for keeping Marah and Paxton’s liaison secret. Johnny realizes that he only exacerbated Marah’s depression by uprooting the family from their Seattle home. Unexpectedly, Cloud, who rebuffed Tully’s every attempt to reconcile, also appears at her daughter’s bedside. Sixty-nine years old and finally sober, Cloud details for the first time the abusive childhood, complete with commitments to mental hospitals and electroshock treatments, that led to her life as a junkie lowlife and punching bag for trailer-trash men. Although powerful, Cloud’s largely peripheral story deflects focus away from the main conflict, as if Hannah was loath to tackle the intractable thicket in which she mired her main characters.

Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the pages turning even as readers begin to resent being drawn into this masochistic morass.

Pub Date: April 23, 2013

ISBN: 978-0-312-57721-6

Page Count: 416

Publisher: St. Martin's

Review Posted Online: Feb. 18, 2013

Kirkus Reviews Issue: March 1, 2013

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More Hallmarkiana, from a shameless expert in the genre.

THE RESCUE

High-stakes weepmeister Sparks (A Walk to Remember, 1999, etc.) opts for a happy ending his fourth time out. His writing has improved—though it's still the equivalent of paint-by-numbers—and he makes use this time of at least a vestige of credible psychology.

That vestige involves the deep dark secret—it has something to do with his father's death when son Taylor was nine—that haunts kind, good 36-year-old local contractor Taylor McAden and makes him withdraw from relationships whenever they start getting serious enough to maybe get permanent. He's done this twice before, and now he does it again with pretty and sweet single mother Denise Holton, age 29, who's moved from Atlanta to Taylor's town of Edenton, North Carolina, in order to devote her time more fully to training her four-year-old son Kyle to overcome the peculiar impediment he has that keeps him from achieving normal language acquisition. Okay? When Denise has a car accident in a bad storm, she's rescued by volunteer fireman Taylor—who also rescues little Kyle after he wanders away from his injured mom in the storm. Love blooms in the weeks that follow—until Taylor suddenly begins putting on the brakes. What is it that holds him back, when there just isn't any question but that he loves Denise and vice versa-not to mention that he's "great" with Kyle, just like a father? It will require a couple of near-death experiences (as fireman Taylor bravely risks his life to save others); emotional steadiness from the intelligent, good, true Denise; and the terrible death of a dear and devoted friend before Taylor will come to the point at last of confiding to Denise the terrible memory of how his father died—and the guilt that's been its legacy to Taylor. The psychological dam broken, love will at last be able to flow.

More Hallmarkiana, from a shameless expert in the genre.

Pub Date: Sept. 19, 2000

ISBN: 0-446-52550-2

Page Count: 352

Publisher: N/A

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 15, 2000

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