Famine now leads the Four Horsemen of the Apocalypse as they sweep across the planet in volume two of the Millennium Quartet, following the plotlessly sluggish Symphony (1996), which was devoted to Death. This new installment is more subtle than its predecessor, relying more on nuance to suggest the final cataclysm that will be played out in far-off volume four. This time, the story focuses on former CPA-turned-writer John Bannock, now in New Orleans researching a book on mass murderers. Wife Patty and son Joey have left him because of his obsession with this gruesome subject, so the depressed Bannock pursues Lisse Gayle Montgomery, a waitress, to help beat the blues. When her boss fires her, John hires Lisse to type up his interviews. Ghosts of executed interviewees float about him, and a spooky man in a white suit dogs him: Reverend Lanyon Trask, whose eye is on the Antichrist. Meanwhile, Father Chisholm (from Symphony) tells Bannock that they are both men marked by the evil furies. Strange crows with blue eyes abound, and John and Lisse are attacked on a ferry by a famished boy sporting sharpened brass knuckles—a boy who bears an uncanny resemblance to Bannock's son. Food grows short. People riot and die. Do crows attacking humans, and soundless windstorms and thunder out of clear blue skies, portend the end of the world? Has the Antichrist arrived? Is his presence announced by the swollen ranks of mass murderers at loose in the world? What part, exactly, does Rod Gillespie, an escaped serial killer, play in bringing about the end of the ages? As worldwide famine settles in, things begin to look bleak, but not as bleak as when Joey, astride a palomino, turns into the Second Horseman. The Glenn Miller title idea of the Apocalypse being bouncy fun calls for Terry Southern, who is not available. Simply feels ground out.
Pub Date: Feb. 1, 1998
ISBN: 0-312-86277-6
Page Count: 304
Publisher: Forge
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 1, 1997
Once again, Hilderbrand displays her gift for making us care most about her least likable characters.
Hilderbrand’s latest cautionary tale exposes the toxic—and hilarious—impact of gossip on even the most sophisticated of islands.
Eddie and Grace Pancik are known for their beautiful Nantucket home and grounds, financed with the profits from Eddie’s thriving real estate company (thriving before the crash of 2008, that is). Grace raises pedigreed hens and, with the help of hunky landscape architect Benton Coe, has achieved a lush paradise of fowl-friendly foliage. The Panciks’ teenage girls, Allegra and Hope, suffer invidious comparisons of their looks and sex appeal, although they're identical twins. The Panciks’ friends the Llewellyns (Madeline, a blocked novelist, and her airline-pilot husband, Trevor) invested $50,000, the lion’s share of Madeline’s last advance, in Eddie’s latest development. But Madeline, hard-pressed to come up with catalog copy, much less a new novel, is living in increasingly straightened circumstances, at least by Nantucket standards: she can only afford $2,000 per month on the apartment she rents in desperate hope that “a room of her own” will prime the creative pump. Construction on Eddie’s spec houses has stalled, thanks to the aforementioned crash. Grace, who has been nursing a crush on Benton for some time, gives in and a torrid affair ensues, which she ill-advisedly confides to Madeline after too many glasses of Screaming Eagle. With her agent and publisher dropping dire hints about clawing back her advance and Eddie “temporarily” unable to return the 50K, what’s a writer to do but to appropriate Grace’s adultery as fictional fodder? When Eddie is seen entering her apartment (to ask why she rented from a rival realtor), rumors spread about him and Madeline, and after the rival realtor sneaks a look at Madeline’s rough draft (which New York is hotly anticipating as “the Playboy Channel meets HGTV”), the island threatens to implode with prurient snark. No one is spared, not even Hilderbrand herself, “that other Nantucket novelist,” nor this magazine, “the notoriously cranky Kirkus.”
Once again, Hilderbrand displays her gift for making us care most about her least likable characters.Pub Date: June 16, 2015
ISBN: 978-0-316-33452-5
Page Count: 384
Publisher: Little, Brown
Review Posted Online: May 20, 2015
Kirkus Reviews Issue: June 1, 2015
PERSPECTIVES
A strict report, worthy of sympathy.
A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.
"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….
A strict report, worthy of sympathy.Pub Date: June 15, 1951
ISBN: 0316769177
Page Count: -
Publisher: Little, Brown
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: June 15, 1951
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
APPRECIATIONS
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