Brown (Lamb in Love, 1999, etc.) tells her story with great delicacy, giving an otherworldly, luminous air to a tawdry...
A respected doctor and a notorious fan dancer fall in love at the Chicago Century of Progress Exposition, circa 1933.
This unlikely pair is brought together by a baby—born three months early and carried to the fairgrounds in a hatbox by his desperate young father, who hopes that Dr. Leo Hoffman, a pioneer in neonatology, can save him. To raise money for the care of these mostly unwanted newborns, Dr. Hoffman (based on a real doctor) exhibits them and their devoted nurses to the curious public in a special, scrupulously clean display known as the Infantorium. There, in an oxygenated incubator, the hatbox baby clings to life as visitors flock to view the tiny infants. Unlike the raucous carnival atmosphere that pervades most of the Exposition, the mood is one of hushed awe, almost reverence, for the nobly self-effacing doctor and his fragile little patients. Caro, the fan dancer (loosely based on Sally Rand) who performs next door, is a pink-and-white goddess, a free spirit who takes lovers as she pleases—although she remains essentially indifferent to all but Dr. Hoffman, who cannot resist her forthright sensuality. Her cousin, St. Louis, who serves as her go-between and protector, was himself born prematurely and takes an avid interest in the Infantorium—especially the hatbox baby, who remains unnamed and unclaimed after his anonymous father is mysteriously murdered amidst a crazed fairgrounds mob. St. Louis—a pickpocket, con man, and all-around trickster—then befriends a wet nurse the better to gain access to the infants. When misguided but determined protestors have the Infantorium shut down, St. Louis envisions a lonely future without the babies or Caro—and so steals the hatbox baby and heads home to the Virginia countryside.
Brown (Lamb in Love, 1999, etc.) tells her story with great delicacy, giving an otherworldly, luminous air to a tawdry setting and great dignity to her characters. A fascinating, lyrically written tale.Pub Date: Sept. 22, 2000
ISBN: 1-56512-299-2
Page Count: 348
Publisher: Algonquin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 1, 2000
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
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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