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SHELLEY'S HEART

Millennial politics in 2001, in a sumptuous sequel to McCarry's long-running series about secret agent Paul Christopher's family (Second Sight, 1991, etc.). McCarry wastes no time in establishing his electrifying premise: On the eve of President Bedford Forrest Lockwood's second inaugural, his defeated opponent, Franklin Mallory, announces, first to Lockwood and then to the world, that someone in Lockwood's campaign stole the election by manipulating computerized vote tallies in three key states. Will Lockwood resign in Mallory's favor? He will not, thank you, but instead prepares for the inevitable impeachment trial by allowing his chief of staff—Christopher's cousin Julian Hubbard—to nominate as his new Chief Justice (who will by law preside over the trial) the strenuously unaffiliated Archimedes Hammett—that staunch courtroom defender of terrorists and consumer of natural foods. But Hubbard and Hammett, members of the utopian and ultra-secret Shelley Society since their days at Yale, are playing a far deeper game than Lockwood realizes. What they plan, together with the other Shelleyans who've honeycombed the government, is nothing less than the collapse of the presidency and the dawn of a totalitarian new government. It's Seven Days in May all over again, of course, but this time with every thrust and counterthrust—except for a single puzzling assassination early on—planned strictly within the laws of the land. As the Shelleyans plot to show how the Constitution allows for the nation to be delivered legally into the hands of a far-left dictatorship, McCarry grooms Christopher's now-grown daughter Zarah for a crucial role as political mediator and assassination bait. Even discounting the baroque embellishments that keep threatening to derail the story—Ouija board revelations, excursions into Mani†te folkways, impassioned accounts of new technologies for embryo recovery, leisurely portraits of every citizen residing within the Beltway—McCarry plots with a grand extravagance that generates tremendous suspense and leaves you more shaken than ever once you've turned the last page.

Pub Date: June 1, 1995

ISBN: 0-679-41533-5

Page Count: 576

Publisher: Random House

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: March 1, 1995

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TO KILL A MOCKINGBIRD

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

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THE SILENT PATIENT

Amateurish, with a twist savvy readers will see coming from a mile away.

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A woman accused of shooting her husband six times in the face refuses to speak.

"Alicia Berenson was thirty-three years old when she killed her husband. They had been married for seven years. They were both artists—Alicia was a painter, and Gabriel was a well-known fashion photographer." Michaelides' debut is narrated in the voice of psychotherapist Theo Faber, who applies for a job at the institution where Alicia is incarcerated because he's fascinated with her case and believes he will be able to get her to talk. The narration of the increasingly unrealistic events that follow is interwoven with excerpts from Alicia's diary. Ah, yes, the old interwoven diary trick. When you read Alicia's diary you'll conclude the woman could well have been a novelist instead of a painter because it contains page after page of detailed dialogue, scenes, and conversations quite unlike those in any journal you've ever seen. " 'What's the matter?' 'I can't talk about it on the phone, I need to see you.' 'It's just—I'm not sure I can make it up to Cambridge at the minute.' 'I'll come to you. This afternoon. Okay?' Something in Paul's voice made me agree without thinking about it. He sounded desperate. 'Okay. Are you sure you can't tell me about it now?' 'I'll see you later.' Paul hung up." Wouldn't all this appear in a diary as "Paul wouldn't tell me what was wrong"? An even more improbable entry is the one that pins the tail on the killer. While much of the book is clumsy, contrived, and silly, it is while reading passages of the diary that one may actually find oneself laughing out loud.

Amateurish, with a twist savvy readers will see coming from a mile away.

Pub Date: Feb. 5, 2019

ISBN: 978-1-250-30169-7

Page Count: 304

Publisher: Celadon Books

Review Posted Online: Nov. 3, 2018

Kirkus Reviews Issue: Nov. 15, 2018

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