A crime caper with an original idea that falls short on nearly every other level.

Fly Diamonds

Dober (AmEarth, 2015, etc.) offers a story of familial revenge involving an ingenious diamond heist.

After his father’s death, Juan Luis Merlo lives in San Diego, where he works as a waiter at The Savory Yolk and sends most of his money to his mother in Tijuana, Mexico. Juan blames his family’s misfortune on Tickell Insurance Products Corporation (TIPCO), which fought his father in court for years over a settlement after a fire destroyed his toy factory and his family’s future. After TIPCO delivered a token payment, Juan’s father died. TIPCO then ruled Juan’s father’s accidental death a suicide and refused to pay any life insurance benefits. Juan has spent years concocting the perfect crime to avenge his father, and the plan involves robbing diamonds from TIPCO client Quayles Jewels, using 35 trained carrier pigeons fitted with tiny pouches. On the appointed day, Juan’s plan works flawlessly—except that one of the birds doesn’t make it out of the store. The police then attach a GPS tracker to the pigeon and set it free. This heist tale’s plot moves briskly and is full of surprises. However, it’s marred by poor execution. The dialogue is often improbable; for example, as cops head to the crime scene, one of them says, “Come on, Ivory, somebody could be in danger!” There’s also a lot of telling and not much showing: “He then became extremely guarded and made sure his mom wasn’t in on his plans.” Some word choices are inexplicable (“Cliff swirled past slow cars”) and the Spanish dialogue is accompanied by a complete English translation, rendering it irrelevant. Overall, Dober’s characters are one-dimensional with the single exception of Juan, who has a realistic back story and motivation.

A crime caper with an original idea that falls short on nearly every other level.

Pub Date: April 6, 2016

ISBN: 978-0-9965491-5-8

Page Count: 208

Publisher: CreateSpace

Review Posted Online: March 27, 2018

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The phrase “tour de force” could have been invented for this audacious novel.

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A LITTLE LIFE

Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives.

Yanagihara (The People in the Trees, 2013) takes the still-bold leap of writing about characters who don’t share her background; in addition to being male, JB is African-American, Malcolm has a black father and white mother, Willem is white, and “Jude’s race was undetermined”—deserted at birth, he was raised in a monastery and had an unspeakably traumatic childhood that’s revealed slowly over the course of the book. Two of them are gay, one straight and one bisexual. There isn’t a single significant female character, and for a long novel, there isn’t much plot. There aren’t even many markers of what’s happening in the outside world; Jude moves to a loft in SoHo as a young man, but we don’t see the neighborhood change from gritty artists’ enclave to glitzy tourist destination. What we get instead is an intensely interior look at the friends’ psyches and relationships, and it’s utterly enthralling. The four men think about work and creativity and success and failure; they cook for each other, compete with each other and jostle for each other’s affection. JB bases his entire artistic career on painting portraits of his friends, while Malcolm takes care of them by designing their apartments and houses. When Jude, as an adult, is adopted by his favorite Harvard law professor, his friends join him for Thanksgiving in Cambridge every year. And when Willem becomes a movie star, they all bask in his glow. Eventually, the tone darkens and the story narrows to focus on Jude as the pain of his past cuts deep into his carefully constructed life.  

The phrase “tour de force” could have been invented for this audacious novel.

Pub Date: March 10, 2015

ISBN: 978-0-385-53925-8

Page Count: 720

Publisher: Doubleday

Review Posted Online: Dec. 22, 2014

Kirkus Reviews Issue: Jan. 1, 2015

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TO KILL A MOCKINGBIRD

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

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