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AMERICA IS NOT THE HEART

Beautifully written, emotionally complex, and deeply moving, Castillo's novel reminds us both that stories may be all we...

Castillo’s debut novel presents a portrait of the Filipino diaspora, told through the lens of a single family.

Revolving around Hero de Vera—a former rebel (with the scars to prove it) turned au pair of sorts in Milpitas, California—this is a book about identity but even more about standing up for something larger than oneself. The idea is implicit in that name, Hero, though Castillo pushes against our expectations by bestowing it upon a woman fighting patriarchy. Her employer, after all—her sponsor, really—is her uncle Pol, scion of an influential family. For the most part, Castillo tracks Hero’s experiences in the San Francisco Bay Area, highlighting two sustaining relationships: the first with Roni, her uncle’s school-age daughter, and the second with Rosalyn, with whom she falls in love. The most important relationship in the book, however, is the one she develops with herself. It’s not that Castillo is out to write a novel of transformation; Hero is on a journey, certainly, but it’s hard to say, exactly, that the circumstances of her existence change. And yet, this is the point, or one of them, that this sharply rendered work of fiction seeks to address. “She wasn’t killed…or didn’t kill herself,” the character reflects. “Tragedy could be unsensational.” Unsensational, yes—much like daily life. Castillo is a vivid writer, and she has a real voice: vernacular and fluid, with a take-no-prisoners edge. At the same time, she complicates her narrative by breaking out of it in a variety of places—both by deftly incorporating languages such as Tagalog and Ilocano and through the use of flashback or backstory, in which we learn what happened to Hero before she left the Philippines. There are also two second-person chapters (the rest is told in third-person) that further complicate the point of view. Here, we encounter Pol’s wife, Paz, who untangles the intricate ties of family, and Rosalyn, who explains the vagaries of love. Through it all, we have a sense that what we are reading is part of a larger story that stretches beyond the borders of the book. “As usual,” Castillo writes, “you’re getting ahead of yourself, but there isn’t enough road in the world for how ahead of yourself you need to get.”

Beautifully written, emotionally complex, and deeply moving, Castillo's novel reminds us both that stories may be all we have to save us and also that this may never be enough.

Pub Date: April 3, 2018

ISBN: 978-0-7352-2241-0

Page Count: 416

Publisher: Viking

Review Posted Online: March 4, 2018

Kirkus Reviews Issue: March 15, 2018

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ABSOLUTE POWER

The mother of all presidential cover-ups is the centerpiece gimmick in this far-fetched thriller from first-novelist Baldacci, a Washington-based attorney. In the dead of night, while burgling an exurban Virginia mansion, career criminal Luther Whitney is forced to conceal himself in a walk-in closet when Christine Sullivan, the lady of the house, arrives in the bedroom he's ransacking with none other than Alan Richmond, President of the US. Through the one-way mirror, Luther watches the drunken couple engage in a bout of rough sex that gets out of hand, ending only when two Secret Service men respond to the Chief Executive's cries of distress and gun down the letter-opener-wielding Christy. Gloria Russell, Richmond's vaultingly ambitious chief of staff, orders the scene rigged to look like a break-in and departs with the still befuddled President, leaving Christy's corpse to be discovered at another time. Luther makes tracks as well, though not before being spotted on the run by agents from the bodyguard detail. Aware that he's shortened his life expectancy, Luther retains trusted friend Jack Graham, a former public defender, but doesn't tell him the whole story. When Luther's slain before he can be arraigned for Christy's murder, Jack concludes he's the designated fall guy in a major scandal. Meanwhile, little Gloria (together with two Secret Service shooters) hopes to erase all tracks that might lead to the White House. But the late Luther seems to have outsmarted her in advance with recurrent demands for hush money. The body count rises as Gloria's attack dogs and Jack search for the evidence cunning Luther's left to incriminate not only a venal Alan Richmond but his homicidal deputies. The not-with-a-bang-but-a-whimper climax provides an unsurprising answer to the question of whether a US president can get away with murder. For all its arresting premise, an overblown and tedious tale of capital sins. (Film rights to Castle Rock; Book-of-the-Month selection)

Pub Date: Jan. 18, 1996

ISBN: 0-446-51996-0

Page Count: 480

Publisher: N/A

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Oct. 15, 1995

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THE SECRET HISTORY

The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.

Pub Date: Sept. 16, 1992

ISBN: 1400031702

Page Count: 592

Publisher: Knopf

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: July 1, 1992

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