Ten stories—mainly from the viewpoint of a boy growing up in a southern town—that are evocative and poetic, but more sketches than fully realized fictions. Mark Random is a sour, not-very-likable boy who comes of age in a family where there's an intense sibling rivalry with brother Luke and where Sweet Lucy Wine of the title lives with the family for a couple of crucial years. The best of the stories here try to come to Joycean epiphanies, but don't quite get there: ``Anders'' is a slight school-days reminiscence; ``Tidewater'' is about catching condoms while fishing and about a near-drowning that leads to nothing; ``Luke'' develops the parameters of the sibling rivalry, which is central to these stories; the title piece uses flirtation, desire, and jealousy in equal portions, all centered on Sweet Lucy, a self-described ``connoisseur of television''; and ``Mr. Mann'' forces Mark to understand that the world is at least as gritty and uncontrollable as it is romantic and voyeuristic. All of these have the easy lyrical grace of a longtime poet but tend to hover more than develop or resolve. ``Rafer McBride,'' a portrait of a boy possessed by an easy authority—the small-time equivalent of a big man on campus—is more pungent and energetic. ``Homespun'' effects a reconciliation between the brothers; it has psychic weight by virtue of its attempt to sum up lives—the father's office and warehouse are deserted, Luke's own son has not yet found his own life. The two last stories, ``Dupo'' and ``Easy,'' leave the family chronicle, the former to give good weight as a lively dialect piece, the latter to bore with a tedious account of a contest between bartenders. Stuart's debut collection settles for being ``a series of perceptions,'' some originally published in Pembroke magazine, Chattahoochee Review, and the like.
Pub Date: Feb. 14, 1992
ISBN: 0-8071-1707-2
Page Count: 128
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 1991
A strict report, worthy of sympathy.
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
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
APPRECIATIONS
Genetically engineered dinosaurs run amok in Crichton's new, vastly entertaining science thriller. From the introduction alone—a classically Crichton-clear discussion of the implications of biotechnological research—it's evident that the Harvard M.D. has bounced back from the science-fantasy silliness of Sphere (1987) for another taut reworking of the Frankenstein theme, as in The Andromeda Strain and The Terminal Man. Here, Dr. Frankenstein is aging billionaire John Hammond, whose monster is a manmade ecosystem based on a Costa Rican island. Designed as the world's ultimate theme park, the ecosystem boasts climate and flora of the Jurassic Age and—most spectacularly—15 varieties of dinosaurs, created by elaborate genetic engineering that Crichton explains in fascinating detail, rich with dino-lore and complete with graphics. Into the park, for a safety check before its opening, comes the novel's band of characters—who, though well drawn, double as symbolic types in this unsubtle morality play. Among them are hero Alan Grant, noble paleontologist; Hammond, venal and obsessed; amoral dino-designer Henry Wu; Hammond's two innocent grandchildren; and mathematician Ian Malcolm, who in long diatribes serves as Crichton's mouthpiece to lament the folly of science. Upon arrival, the visitors tour the park; meanwhile, an industrial spy steals some dino embryos by shutting down the island's power—and its security grid, allowing the beasts to run loose. The bulk of the remaining narrative consists of dinos—ferocious T. Rex's, voracious velociraptors, venom-spitting dilophosaurs—stalking, ripping, and eating the cast in fast, furious, and suspenseful set-pieces as the ecosystem spins apart. And can Grant prevent the dinos from escaping to the mainland to create unchecked havoc? Though intrusive, the moralizing rarely slows this tornado-paced tale, a slick package of info-thrills that's Crichton's most clever since Congo (1980)—and easily the most exciting dinosaur novel ever written. A sure-fire best-seller.
Pub Date: Nov. 7, 1990
ISBN: 0394588169
Page Count: 424
Publisher: Knopf
Review Posted Online: Sept. 21, 2011
Kirkus Reviews Issue: Oct. 15, 1990
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