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ELROY NIGHTS

“It’s not as simple as they make it on TV,” says Freddy. Says the reader, oh, dear, but yes it is.

Veteran Barthelme (stories: The Law of Averages, 2000, etc.) sets a semi-successful professor to wondering about the meaning of life—and the reader can actually take him seriously now and then.

How is it, ponders narrator Elroy, that a person’s life turns out as it does—so that “you have this, suddenly and startlingly not at all what you sought.” The answer is—well, you get older. Elroy, an artist until he got bored with the effort and repetitiveness of it, has been for years an art professor at a college in Biloxi—where he thinks mainly about his female students: the youth, allure, and mystery of them. His regrets at not having taken his sexual opportunities may have something to do with the decision he and his wife Clare make at story’s opening to “get some space into the marriage, some room to maneuver.” Elroy takes an apartment with a view of the water—and finds himself involved with student-aged kids: his own stepdaughter Winter, her racy female friend Freddy, the talented but troubled art student Edward Works (who’ll die), and Winter’s seeming lover, the curious Victor. Things wander as Elroy ponders his life and the unfulfilling world around him, fixates on the sexy Freddy, gets fellated by her in his college office, and . . . ? To fill book’s middle, there’s a pointless car trip to Memphis and Dallas taken by Elroy, Freddy, Winter, and Victor, with overnights, an Elroy/Freddy consummation, a hackneyed stick-up in a roadside stop-n-go, and a homecoming in Biloxi where wife Clare is troubled by the Elroy-Freddy consummation. The whole is accompanied by ultra-tough-talk (“It’s not a hard ass thing, it’s just shit happens. I mean, people say this stuff about it, but it passes”), and, after some quite lovely nostalgia-riffs by Elroy as he remembers his childhood, he finds himself gravitating back toward Clare.

“It’s not as simple as they make it on TV,” says Freddy. Says the reader, oh, dear, but yes it is.

Pub Date: Oct. 1, 2003

ISBN: 1-58243-218-0

Page Count: 224

Publisher: Counterpoint

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 2003

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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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DISTANT SHORES

Soft-focus story moves right along with few surprises. This time around, Hannah avoids the soap-opera complications of her...

Another middle-aged mom in a muddle.

After years of false starts and big hopes, Elizabeth’s ruggedly handsome husband Jack, a former football star, just landed a spot as a sportscaster on national news. He still loves her, even though much younger women are giving him come-hither looks. Heck, he doesn’t want to betray the love of his life after she helped him kick drugs and stuck by him even when he was a struggling has-been. And won’t it seem hypocritical if he fools around with his sexy assistant while he does in-depth reporting on a rape case involving a famous basketball center? Well, he fools around anyway. Elizabeth, nicknamed Birdie, knows nothing of this, but she withdraws from Jack when her hard-drinking, salt-of-the-earth father has a stroke and dies. Now no one will call her “sugar beet” ever again. Time to return home to Tennessee and contend with Anita, the sort-of-evil stepmother so trashy she wears pink puffy slippers all day long. Naturally, it turns out that Anita actually has a heart of gold and knows a few things about Birdie’s dead mother that were hushed up for years. Mom was an artist, just like Birdie, and an old scandal comes to light as Anita unrolls a vibrant canvas that portrays her secret lover. Perhaps, Birdie muses, her mother died of heartbreak, never having followed her true love or developed her talent. Has she, too, compromised everything she holds dear? Hoping to find out, Birdie joins a support group that promises to reconnect confused women with their passion. She and Jack separate, prompting a how-dare-you fit from their grown daughters. Will Birdie fly her empty nest? Will she go back to college for a degree in art? Will her brooding watercolors ever sell?

Soft-focus story moves right along with few surprises. This time around, Hannah avoids the soap-opera complications of her previous tales (Summer Island, 2001, etc.).

Pub Date: July 1, 2002

ISBN: 0-345-45071-X

Page Count: 352

Publisher: Ballantine

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: May 15, 2002

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