An often somber but potent crime drama.

JUNCTION

As drug runner Nick considers a new business venture, a few curious deaths complicate matters in Schlegel’s (Odyssey Tale, 2014) thriller.

Nick Harmen and his cousin Ryan have been routinely making monthly trips from Junction, Iowa, to Pleasant City, Iowa, to drop off pounds of marijuana for cash. That changes when their drug wholesaler and childhood friend Joey Sheeks freezes to death in the November snow, apparently during an LSD trip. Nick’s other cousin, Zack, inherits Joey’s operation and wants to know if Nick wants in on his scheme to grow his own marijuana and eliminate the middleman. Nick isn’t fond of Zack, though; back in high school, he let Nick unjustly take the rap for cocaine possession and never told Nick’s family the truth. Meanwhile, crooked sheriff Rick Kensley keeps asking about someone Zack knows—a mysterious man named Eric Marquez. Nick is also at odds with his ex-girlfriend, Tori; they’re both living in the same house raising their beloved infant daughter, Hayden, while Nick’s mother, Patricia, is in the hospital. But Nick’s biggest worry is the fact that his drug business has become decidedly more hazardous due to the fact that someone is murdering Junction locals. Schlegel’s tale is dense with subplots and well-developed characters; for example, Nick and Joey’s pal Adam Craig, the son of a Junction deputy, is a West Virginia cop who’s tormented by both his time in Iraq and a recently bungled police raid. The characters all share a growing sense of urgency as their individual predicaments get progressively worse. But as stark as the narrative is, Schlegel isn’t afraid of adding some sentiment, however gruff, as when Nick’s brother praises Patricia by saying, “She’s a great goddamn mom.” It all steadily builds to an expected climax that doesn’t quite happen, but Schlegel does resolve some of the story’s mysteries while promising a second installment.

An often somber but potent crime drama.

Pub Date: Sept. 6, 2016

ISBN: 978-1-5120-0445-8

Page Count: 252

Publisher: CreateSpace

Review Posted Online: Feb. 28, 2017

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A strict report, worthy of sympathy.

THE CATCHER IN THE RYE

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

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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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