Fictional take #2 for Shapiro, author of the roundly esteemed debut novel Playing with Fire (1990), points out what the artsy members of Yale's class of about 1980 did after graduation, while their squarer fellows were trading bonds on Wall Street. Of course, Shapiro's principal players, Josie Hirsch and Billy Overmeyer, aren't your average college kids. They grew up together in a New Jersy suburb, where Josie (the narrator) had a knack for being where she wasn't supposed to be—cutting classes to spend the day in New York City, cuddling with Billy in the woods, or secretly watching her divorced dad make love to a neighbor, plump and lovely Mrs. Overmeyer. Here, Josie's past is interspersed with the present, as she acts in an Off-Off Broadway hit and laments the desertion of her live-in beau. But Josie's real problems are twofold: Her mother, an internationally acclaimed artist named Georgia, treats Josie like a daughter only on rare occasions, and, to make matters worse, Josie and Billy love each another (and always have), though they can't come out of the closet with it because Billy became her stepbrother when Mr. Hirsch married Mrs. Overmeyer. Then one night near Central Park, while Georgia and Josie helplessly look on, Billy gets beat up by a mugger, leaving him a vegetable. To vanquish the ghosts that haunt her, Josie will have to make a rapprochement with her self-centered mother, kick a drinking habit, and reveal her own ``private Holocaust''—her hopeless love for Billy. Shapiro is reaching for Euripides here—if in her own hip, downtownish way—and, despite certain overobvious plot manipulations, does manage to grasp onto the tragedian's sleeve. She also digs into some good and gritty mother-daughter dirt. So for seekers after darkness, why not?
Pub Date: Jan. 1, 1993
ISBN: 0-385-42107-9
Page Count: 256
Publisher: Doubleday
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 1, 1992
This is a masterly novel. It will appeal to all lovers of fiction of the first order.
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
IN THE NEWS
SEEN & HEARD
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
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