Wildly uneven, by turns cringe-worthy and hilarious, this is an uneventful trip to a worthy destination.
From Nova (The Informer, 2010, etc.), another illustration, painted in noirish tints, that love is all we need.
Jason Brady is the hero, father of the protagonist, Jake. Jake is an astronomer, and the constant of the title refers to both his father’s virtue and to the Constant, a component of Einstein’s Theory of Relativity. The book is set in upstate New York, in a small city devolving into a generic suburb of all-night pharmacies, auto parts stores and mini malls. Jake is in love with Sara, a cynic from a broken home. Together, they stare into space at pictures beamed back from the Hubble telescope. When cracks appear in Jake’s home, his father is a rock, doing right even by those who wrong him. Jake escapes into academics. Sara, afflicted, falls into trouble. Returning to live near his father, Jake becomes reacquainted with Sara in an encounter of cable-ready cinematic mayhem—an absurd, even laughable moment. But the book gains momentum, as if Nova has come back to the monochrome country where he is most comfortable. Sara is in the thick of what rhymes with it, and she draws the two men out of their comfort zones and into her eccentric orbit. The exquisite, excruciating climax pits Sara’s boorish pursuers against the Brady patriarch’s implacable virtue. If the rest of the book were half as gripping as this adventure in the noir wilderness, it might be considered a classic. But the taut moments only make the execrable and the platitudinous more so.
Wildly uneven, by turns cringe-worthy and hilarious, this is an uneventful trip to a worthy destination.Pub Date: Sept. 11, 2012
ISBN: 978-1-61902-023-8
Page Count: 336
Publisher: Counterpoint
Review Posted Online: Aug. 2, 2012
Kirkus Reviews Issue: Aug. 15, 2012
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
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.
Ten years after her teenage daughter went missing, a mother begins a new relationship only to discover she can't truly move on until she answers lingering questions about the past.
Laurel Mack’s life stopped in many ways the day her 15-year-old daughter, Ellie, left the house to study at the library and never returned. She drifted away from her other two children, Hanna and Jake, and eventually she and her husband, Paul, divorced. Ten years later, Ellie’s remains and her backpack are found, though the police are unable to determine the reasons for her disappearance and death. After Ellie’s funeral, Laurel begins a relationship with Floyd, a man she meets in a cafe. She's disarmed by Floyd’s charm, but when she meets his young daughter, Poppy, Laurel is startled by her resemblance to Ellie. As the novel progresses, Laurel becomes increasingly determined to learn what happened to Ellie, especially after discovering an odd connection between Poppy’s mother and her daughter even as her relationship with Floyd is becoming more serious. Jewell’s (I Found You, 2017, etc.) latest thriller moves at a brisk pace even as she plays with narrative structure: The book is split into three sections, including a first one which alternates chapters between the time of Ellie’s disappearance and the present and a second section that begins as Laurel and Floyd meet. Both of these sections primarily focus on Laurel. In the third section, Jewell alternates narrators and moments in time: The narrator switches to alternating first-person points of view (told by Poppy’s mother and Floyd) interspersed with third-person narration of Ellie’s experiences and Laurel’s discoveries in the present. All of these devices serve to build palpable tension, but the structure also contributes to how deeply disturbing the story becomes. At times, the characters and the emotional core of the events are almost obscured by such quick maneuvering through the weighty plot.
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.Pub Date: April 24, 2018
ISBN: 978-1-5011-5464-5
Page Count: 368
Publisher: Atria
Review Posted Online: Feb. 5, 2018
Kirkus Reviews Issue: Feb. 15, 2018
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