THE GODMOTHER

Rose Samson is a Seattle social worker struggling with an increased caseload, vanishing resources, and the despair that accompanies daily contact with murder, child molestation, drug traffic, homelessness, and an unrelenting bureaucracy. Into her life, and into the lives of her clients, drops one Felicity Fortune, who claims to be a modern incarnation of the Fairy Godmother. Although constrained by limited resources herself (her use of magic has been severely curtailed by Godmothers' Sorority), Felicity's involvement in Rose's career soon turns the social worker's skepticism to grudging belief. Meantime, Rose's clients begin to bear striking resemblances to characters detailed by the brothers Grimm. Cindy Ellis is plagued by her stepmother and two obnoxious stepsisters. Snohomish Quantrill, young daughter of a rock star, manages to elude her stepmother's hit man, and takes refuge with seven Vietnam vets who are getting in touch with their masculinity (sweat lodges, drums, rap sessions) in a cabin in the woods. Little Hank and Gigi are abandoned by their mother at a mall, and are ``rescued'' by the man who made the mall's gingerbread house display. Only when he takes them home do they begin to suspect that his interest in little children has a sinister side. Felicity's limited powers provide no assurance of a happily-ever-after here. Scarborough (Last Refuge, 1992, etc.) attempts charm in this slight story, but alas, what comes out instead is saccharine and hokey.