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THE MONEY-WHIPPED STEER-JOB THREE-JACK GIVE-UP ARTIST

It’s dismaying to see a great sportswriter reduced to feeble self-parody, becoming a potty-mouthed adolescent whose chief...

The pride of Goat Hills, Jenkins, perhaps our best living golf writer, returns to his thinly fictionalized version of the PGA Tour for the first time in a quarter-century.

When his novel Dead Solid Perfect was published in 1974, Jenkins (Rude Behavior, 1998, etc.) became one of the only writers to offer a fictional look at life on the pro-golf circuit. Few have taken up the challenge since (other than some mystery authors), and now Jenkins returns to this still relatively virgin territory for a second golf outing. The protagonist-narrator this time is Bobby Joe Grooves, a middle-of-the-pack pro with two ex-wives, a passion for golf history, and a taste for J&B and the good life. Although the setting is the golf tour and the story is larded with tour lore and history—the best parts of it, really—this effort isn’t much different from Jenkins’s previous novels about pro football or journalism: a stand-up comedy routine that goes on for nearly 300 pages, offering a bawdy, cynical, and outrageous picture of Good Ol’ Boy America as seen from the inside. There are lots of funny one-liners (“Nobody in pro golf reads the money list closer than ex-wives”) sprinkled in among the tales of horny men and willing women. But this is an aimless and meandering tale whose big plot development—that Bobby Joe wants desperately to make the Ryder Cup team and represent the USA—isn’t unveiled until Chapter 17 and whose denouement is both telegraphed and underplayed, with the result that the payoff to all the wandering is minimal at best. Jenkins, too, seems to have lost interest long before the final page.

It’s dismaying to see a great sportswriter reduced to feeble self-parody, becoming a potty-mouthed adolescent whose chief delight seems to be thinking up new ethnic and gender epithets. Pathetic.

Pub Date: Aug. 1, 2001

ISBN: 0-385-49723-7

Page Count: 272

Publisher: Broadway

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: May 15, 2001

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MAGIC HOUR

Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.

Sisters work together to solve a child-abandonment case.

Ellie and Julia Cates have never been close. Julia is shy and brainy; Ellie gets by on charm and looks. Their differences must be tossed aside when a traumatized young girl wanders in from the forest into their hometown in Washington. The sisters’ professional skills are put to the test. Julia is a world-renowned child psychologist who has lost her edge. She is reeling from a case that went publicly sour. Though she was cleared of all wrongdoing, Julia’s name was tarnished, forcing her to shutter her Beverly Hills practice. Ellie Barton is the local police chief in Rain Valley, who’s never faced a tougher case. This is her chance to prove she is more than just a fading homecoming queen, but a scarcity of clues and a reluctant victim make locating the girl’s parents nearly impossible. Ellie places an SOS call to her sister; she needs an expert to rehabilitate this wild-child who has been living outside of civilization for years. Confronted with her professional demons, Julia once again has the opportunity to display her talents and salvage her reputation. Hannah (The Things We Do for Love, 2004, etc.) is at her best when writing from the girl’s perspective. The feral wolf-child keeps the reader interested long after the other, transparent characters have grown tiresome. Hannah’s torturously over-written romance passages are stale, but there are surprises in store as the sisters set about unearthing Alice’s past and creating a home for her.

Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.

Pub Date: March 1, 2006

ISBN: 0-345-46752-3

Page Count: 400

Publisher: Ballantine

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: Dec. 1, 2005

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THE CATCHER IN THE RYE

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

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