A first novel from the Brooklyn-born Schwartz, based in the Netherlands since 1965, that may lead some to think that art historians should stick to art and leave the suspense to more accomplished storytellers. Schwartz (Rembrandt, 1992) is nevertheless an expert both on the Netherlands and the Dutch art scene, with at least a passing familiarity with the New York gallery world, and his hero here is Lodewijk Alstad, a 29-year-old art-historian-cum-dealer hustling his way either to runaway success or utter failure. Lodewijk's fate depends on a series of sales of old- master works, and to bring about that end he has betrayed his mentor, deceived an art journal, and gotten himself embroiled in the dicey affairs of Mitchell Fleishig, a Beverly Hills real-estate magnate whose fortunes are plunging and whose future is mortgaged to the Mob. On top of all this, Lodewijk is having girlfriend troubles and suffering from periodic bouts of anxiety seemingly linked to his family's long-ago persecutions at the hands of the Nazis. Juggling deals from Houston to California, and persuading his crotchety aunt to part with a valuable painting by Emanuel de Witte, Lodewijk first bumbles and then speeds toward a fated confrontation with Fleishig's Mafia bosses, eventually stealing back the de Witte that Fleishig has desperately stolen from him, though not before evading a couple of attempts on his life. Throughout, Schwartz clogs the already clogged narrative with a dry- toned analysis of the glorious history of Dutch painting, snoozy travelogues of Amsterdam, and with a full chapter that attacks the mandarin lifestyles of scholars. Those specially interested in the Dutch masters may find a degree of allure here; readers in search of sharper plotting and more daring characters, though, may as well steer clear. If the art world were as unequivocally callow as Schwartz implies, it would have self- destructed ages ago.
Pub Date: April 1, 1996
ISBN: 0-7145-3008-5
Page Count: 209
Publisher: Marion Boyars
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 1996
BOOK REVIEW
BOOK REVIEW
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
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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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