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SOLE SURVIVOR

Name: SOLE SURVIVOR
Author: Derek Hansen
ISBN: 0-684-85407-4

by Derek Hansen ‧ RELEASE DATE: March 1, 1999

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Charming misfits-in-paradise idyll from British-born, Australia-based novelist Hansen, in which love and kindness bloom improbably among three social outcasts on a remote corner of New Zealand’s Great Barrier Island. Hansen’s turn at the eternal triangle begins when Rosie Trethewey, a spunky, pre-feminist divorced psychologist, takes a break from her job as an Auckland marketing researcher for toilet-bowl cleaning products to investigate a cottage bequeathed to her by a former patient. Rosie discovwers the shack on the wild southern tip of Great Barrier Island. Despite its awkwardly located outhouse and refractory woodstove, she finds its isolation an answer to unvoiced prayers. But her arrival provokes confusion in her oddball neighbors Red O’Hara, a handsome but demented workaholic survivor of a Japanese POW camp, and Angus McLeod, a misanthropic retired policeman who works off his repressed paternal urges by writing children’s books. Fearing that Rosie will usher in the civilized complications they dread, Angus and Red dismiss her as an ignorant woman not cut out for the rigors of wilderness life. Such treatment only inspires Rosie to stay, proving Angus wrong, and nurture Red’s wounded psyche, if not take him to bed. Rosie achieves every goal, though not without moments of comic discomfort (men keep interrupting her every time she wants to soak in the tub) and visits from the breezy but not sleazy Navy Lt. Commander Michael “Mickey” Finn, who, in addition to sharing Rosie’s bed, wants Red to get proof that the wily Japanese Captain Shimojo Seiichi is fishing illegally within New Zealand’s territorial waters. Red ‘s discovery of a cache of military explosives gives the bickering islanders the power to blow Seiichi sky-high. Paced so slowly that it might as well have been written on island time, but, still, Hansen’s feel-good screwball romance is sufficiently sexy and exotic to build him a stateside following.

Pub Date: March 1, 1999

ISBN: 0-684-85407-4

Page Count: 480

Publisher: Simon & Schuster

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Jan. 15, 1999

Categories:

GENERAL FICTION

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SUMMER ISLAND

by Kristin Hannah ‧ RELEASE DATE: March 1, 2001

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with...

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Talk-show queen takes tumble as millions jeer.

Nora Bridges is a wildly popular radio spokesperson for family-first virtues, but her loyal listeners don't know that she walked out on her husband and teenaged daughters years ago and didn't look back. Now that a former lover has sold racy pix of naked Nora and horny himself to a national tabloid, her estranged daughter Ruby, an unsuccessful stand-up comic in Los Angeles, has been approached to pen a tell-all. Greedy for the fat fee she's been promised, Ruby agrees and heads for the San Juan Islands, eager to get reacquainted with the mom she plans to betray. Once in the family homestead, nasty Ruby alternately sulks and glares at her mother, who is temporarily wheelchair-bound as a result of a post-scandal car crash. Uncaring, Ruby begins writing her side of the story when she's not strolling on the beach with former sweetheart Dean Sloan, the son of wealthy socialites who basically ignored him and his gay brother Eric. Eric, now dying of cancer and also in a wheelchair, has returned to the island. This dismal threesome catch up on old times, recalling their childhood idylls on the island. After Ruby's perfect big sister Caroline shows up, there's another round of heartfelt talk. Nora gradually reveals the truth about her unloving husband and her late father's alcoholism, which led her to seek the approval of others at the cost of her own peace of mind. And so on. Ruby is aghast to discover that she doesn't know everything after all, but Dean offers her subdued comfort. Happy endings await almost everyone—except for readers of this nobly preachy snifflefest.

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with syrupy platitudes about life and love.

Pub Date: March 1, 2001

ISBN: 0-609-60737-5

Page Count: 336

Publisher: Crown

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Jan. 15, 2001

Categories:

GENERAL FICTION

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LAST ORDERS

by Graham Swift ‧ RELEASE DATE: April 5, 1996

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Britisher Swift's sixth novel (Ever After, 1992 etc.) and fourth to appear here is a slow-to-start but then captivating tale of English working-class families in the four decades following WW II. When Jack Dodds dies suddenly of cancer after years of running a butcher shop in London, he leaves a strange request—namely, that his ashes be scattered off Margate pier into the sea. And who could better be suited to fulfill this wish than his three oldest drinking buddies—insurance man Ray, vegetable seller Lenny, and undertaker Vic, all of whom, like Jack himself, fought also as soldiers or sailors in the long-ago world war. Swift's narrative start, with its potential for the melodramatic, is developed instead with an economy, heart, and eye that release (through the characters' own voices, one after another) the story's humanity and depth instead of its schmaltz. The jokes may be weak and self- conscious when the three old friends meet at their local pub in the company of the urn holding Jack's ashes; but once the group gets on the road, in an expensive car driven by Jack's adoptive son, Vince, the story starts gradually to move forward, cohere, and deepen. The reader learns in time why it is that no wife comes along, why three marriages out of three broke apart, and why Vince always hated his stepfather Jack and still does—or so he thinks. There will be stories of innocent youth, suffering wives, early loves, lost daughters, secret affairs, and old antagonisms—including a fistfight over the dead on an English hilltop, and a strewing of Jack's ashes into roiling seawaves that will draw up feelings perhaps unexpectedly strong. Without affectation, Swift listens closely to the lives that are his subject and creates a songbook of voices part lyric, part epic, part working-class social realism—with, in all, the ring to it of the honest, human, and true.