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THE CONTORTIONIST’S HANDBOOK

Immaculately detailed and emotionally explosive: this is roiling, riveting stuff, of a piece with stylish, edgy movies like...

A brisk, savvy debut gives new meaning to the term “identity crisis,” as Clevenger builds a neo-noir cliffhanger from the story of an unusually gifted man whose migraines drive him to drug overdoses—but who then has to reinvent himself to stay one step ahead of his past.

For John Dolan Vincent, the predicament is familiar: Following yet another resuscitation by the EMT and ER personnel, he’s awaiting psychiatric evaluation in a Hollywood hospital to determine whether he’s suicidal. He knows the drill, but he also has another advantage—as far as his minders know, he’s Daniel John Fletcher. When his Evaluator arrives and the questions begin, Johnny knows he has to be credible in order to be released, and once released that he immediately has to manufacture a new identity. As a child, a troubled family and antisocial tendencies, exacerbated by his having a sixth finger on his left hand, hid his phenomenal intelligence and his gifts for math and mimicry. Doing homework for hire and forging his parents’ signatures naturally led to more trouble, until an arrest for forging a prescription gave him a juvenile record and jail time. Now in his 20s, any digging into one of his forged personas—which would be inevitable should he fail one of the suicide evaluations—would unmask him and bring more jail time. More than that, some of his work as a master forger has been for the mob, and what he knows is extremely dangerous to them. Having escaped them in the past, they’ve now found him as Daniel Fletcher—and have come to the hospital to wait for his release. Even worse, Johnny is in love, and Keara’s life hangs in the balance too.

Immaculately detailed and emotionally explosive: this is roiling, riveting stuff, of a piece with stylish, edgy movies like Memento and Requiem For a Dream.

Pub Date: Sept. 26, 2002

ISBN: 1-931561-15-X

Page Count: 201

Publisher: MacAdam/Cage

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: July 15, 2002

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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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LONESOME DOVE

A NOVEL (SIMON & SCHUSTER CLASSICS)

This large, stately, and intensely powerful new novel by the author of Terms of Endearment and The Last Picture Show is constructed around a cattle drive—an epic journey from dry, hard-drinking south Texas, where a band of retired Texas Rangers has been living idly, to the last outpost and the last days of the old, unsettled West in rough Montana. The time is the 1880s. The characters are larger than life and shimmer: Captain Woodrow Call, who leads the drive, is the American type of an unrelentingly righteous man whose values are puritanical and pioneering and whose orders, which his men inevitably follow, lead, toward the end, to their deaths; talkative Gus McCrae, Call's best friend, learned, lenient, almost magically skilled in a crisis, who is one of those who dies; Newt, the unacknowledged 17-year-old son of Captain Call's one period of self-indulgence and the inheritor of what will become a new and kinder West; and whores, drivers, misplaced sheriffs and scattered settlers, all of whom are drawn sharply, engagingly, movingly. As the rag-tag band drives the cattle 3,000 miles northward, only Call fails to learn that his quest to conquer more new territories in the West is futile—it's a quest that perishes as men are killed by natural menaces that soon will be tamed and by half-starved renegades who soon will die at the hands of those less heroic than themselves. McMurtry shows that it is a quest misplaced in history, in a landscape that is bare of buffalo but still mythic; and it is only one of McMurtry's major accomplishments that he does it without forfeiting a grain of the characters' sympathetic power or of the book's considerable suspense. This is a masterly novel. It will appeal to all lovers of fiction of the first order.

Pub Date: June 1, 1985

ISBN: 068487122X

Page Count: 872

Publisher: Simon & Schuster

Review Posted Online: Sept. 30, 2011

Kirkus Reviews Issue: May 15, 1985

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