Next book

SHRUNK

An astute, farcical look at the psychiatric profession.

Awards & Accolades

Our Verdict

  • Our Verdict
  • GET IT

In Hogart’s debut comedic novel, a New England couple moves next door to an insane psychotherapist who dedicates himself to tormenting them. 

Psychiatrist Henry Avalon and his wife, Helena, move into a new home in Cambridge, Massachusetts. Their new neighbor, Henry’s colleague Albert Prendergast, immediately comes off as socially awkward at best, and worrisomely weird at worst. Henry and Helena’s intuition about him turns out to be unfortunately correct, as Prendergast seems intent on harassing them both, personally and professionally. He leaves dead animals in front of their house, defaces their property, whistles at night to disturb their sleep, and leaves a sign in his window that reads “HOT RED SHORTS!” after Helena wears red, short pants in her garden. He demands that the Avalons build a fence around their property, and after they do, he throws rocks at it and files a false complaint with the local zoning board. When Henry confronts him, he shrilly screams a homophobic slur at him. Henry regularly calls the police about his neighbor’s antics, but without solid evidence, there’s little that the authorities can do. Later, Prendergast strategically claims to need therapy, solicits it from Henry, and then accuses him of malpractice before the state licensing board. Meanwhile, Henry’s reputation at work suffers—no one believes his stories, and his petty co-workers are threatened by his intelligence and success. One is overcome by “implacable hatred” when Henry proves more knowledgeable than he is at an informal book-club gathering. Another bizarrely jogs naked through the woods—with green and red makeup on his testicles.  Author Hogart is a psychiatrist who was a faculty member at Harvard Medical School for two decades, so he’s uniquely positioned to satirize his own profession. Henry’s colleagues, as the author hilariously portrays them, are as eccentric as they are venal; for example, Mendelson, a fellow psychiatrist, reveals himself to be neither capable of nor interested in genuine camaraderie when his wife asks him why he gives Henry the cold shoulder: “I thought I told you. The cost of friendship would have been to become involved in a problem of his.” Hogart also expertly mocks how some psychotherapists put stock in fashionable theories that are so incredibly general that they’re nearly impossible to falsify. The Avalons, though, are shown to make some strange choices; early on, for instance, they decide that Prendergast’s misbehavior must be the result of loneliness and take out a personal ad on his behalf. Also, given how clearly they recognize their neighbor’s combination of malice and deviant behavior, it simply makes no sense that Henry would ever agree to become the man’s therapist. However, Hogart’s prose is quick-witted and slyly perceptive throughout. He has a comic sense of the absurd that evokes Kurt Vonnegut’s work and an eye for vanity that’s reminiscent of Tom Wolfe’s. The author’s professional peers might be piqued by his novel’s ruthless characterizations, but the remainder of his readership is likely to be thoroughly amused. 

An astute, farcical look at the psychiatric profession.

Pub Date: Nov. 14, 2012

ISBN: 978-0-9883553-1-6

Page Count: 244

Publisher: Bickerstaff Press

Review Posted Online: Dec. 13, 2018

Categories:
Next book

SUMMER ISLAND

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with...

Talk-show queen takes tumble as millions jeer.

Nora Bridges is a wildly popular radio spokesperson for family-first virtues, but her loyal listeners don't know that she walked out on her husband and teenaged daughters years ago and didn't look back. Now that a former lover has sold racy pix of naked Nora and horny himself to a national tabloid, her estranged daughter Ruby, an unsuccessful stand-up comic in Los Angeles, has been approached to pen a tell-all. Greedy for the fat fee she's been promised, Ruby agrees and heads for the San Juan Islands, eager to get reacquainted with the mom she plans to betray. Once in the family homestead, nasty Ruby alternately sulks and glares at her mother, who is temporarily wheelchair-bound as a result of a post-scandal car crash. Uncaring, Ruby begins writing her side of the story when she's not strolling on the beach with former sweetheart Dean Sloan, the son of wealthy socialites who basically ignored him and his gay brother Eric. Eric, now dying of cancer and also in a wheelchair, has returned to the island. This dismal threesome catch up on old times, recalling their childhood idylls on the island. After Ruby's perfect big sister Caroline shows up, there's another round of heartfelt talk. Nora gradually reveals the truth about her unloving husband and her late father's alcoholism, which led her to seek the approval of others at the cost of her own peace of mind. And so on. Ruby is aghast to discover that she doesn't know everything after all, but Dean offers her subdued comfort. Happy endings await almost everyone—except for readers of this nobly preachy snifflefest.

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with syrupy platitudes about life and love.

Pub Date: March 1, 2001

ISBN: 0-609-60737-5

Page Count: 336

Publisher: Crown

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Jan. 15, 2001

Categories:
Next book

LAST ORDERS

Britisher Swift's sixth novel (Ever After, 1992 etc.) and fourth to appear here is a slow-to-start but then captivating tale of English working-class families in the four decades following WW II. When Jack Dodds dies suddenly of cancer after years of running a butcher shop in London, he leaves a strange request—namely, that his ashes be scattered off Margate pier into the sea. And who could better be suited to fulfill this wish than his three oldest drinking buddies—insurance man Ray, vegetable seller Lenny, and undertaker Vic, all of whom, like Jack himself, fought also as soldiers or sailors in the long-ago world war. Swift's narrative start, with its potential for the melodramatic, is developed instead with an economy, heart, and eye that release (through the characters' own voices, one after another) the story's humanity and depth instead of its schmaltz. The jokes may be weak and self- conscious when the three old friends meet at their local pub in the company of the urn holding Jack's ashes; but once the group gets on the road, in an expensive car driven by Jack's adoptive son, Vince, the story starts gradually to move forward, cohere, and deepen. The reader learns in time why it is that no wife comes along, why three marriages out of three broke apart, and why Vince always hated his stepfather Jack and still does—or so he thinks. There will be stories of innocent youth, suffering wives, early loves, lost daughters, secret affairs, and old antagonisms—including a fistfight over the dead on an English hilltop, and a strewing of Jack's ashes into roiling seawaves that will draw up feelings perhaps unexpectedly strong. Without affectation, Swift listens closely to the lives that are his subject and creates a songbook of voices part lyric, part epic, part working-class social realism—with, in all, the ring to it of the honest, human, and true.

Pub Date: April 5, 1996

ISBN: 0-679-41224-7

Page Count: 304

Publisher: Knopf

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Feb. 15, 1996

Categories:
Close Quickview