Britisher Swift's sixth novel (Ever After, 1992 etc.) and fourth to appear here is a slow-to-start but then captivating tale of English working-class families in the four decades following WW II. When Jack Dodds dies suddenly of cancer after years of running a butcher shop in London, he leaves a strange request—namely, that his ashes be scattered off Margate pier into the sea. And who could better be suited to fulfill this wish than his three oldest drinking buddies—insurance man Ray, vegetable seller Lenny, and undertaker Vic, all of whom, like Jack himself, fought also as soldiers or sailors in the long-ago world war. Swift's narrative start, with its potential for the melodramatic, is developed instead with an economy, heart, and eye that release (through the characters' own voices, one after another) the story's humanity and depth instead of its schmaltz. The jokes may be weak and self- conscious when the three old friends meet at their local pub in the company of the urn holding Jack's ashes; but once the group gets on the road, in an expensive car driven by Jack's adoptive son, Vince, the story starts gradually to move forward, cohere, and deepen. The reader learns in time why it is that no wife comes along, why three marriages out of three broke apart, and why Vince always hated his stepfather Jack and still does—or so he thinks. There will be stories of innocent youth, suffering wives, early loves, lost daughters, secret affairs, and old antagonisms—including a fistfight over the dead on an English hilltop, and a strewing of Jack's ashes into roiling seawaves that will draw up feelings perhaps unexpectedly strong. Without affectation, Swift listens closely to the lives that are his subject and creates a songbook of voices part lyric, part epic, part working-class social realism—with, in all, the ring to it of the honest, human, and true.
Pub Date: April 5, 1996
ISBN: 0-679-41224-7
Page Count: 304
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 15, 1996
Above-average formula fiction, making full display of the author’s strong suits: sense of place, compassion for characters...
Female rivalry is again the main preoccupation of Hannah’s latest Pacific Northwest sob saga (Firefly Lane, 2008, etc.).
At Water’s Edge, the family seat overlooking Hood Canal, Vivi Ann, youngest and prettiest of the Grey sisters and a champion horsewoman, has persuaded embittered patriarch Henry to turn the tumbledown ranch into a Western-style equestrian arena. Eldest sister Winona, a respected lawyer in the nearby village of Oyster Shores, hires taciturn ranch hand Dallas Raintree, a half-Native American. Middle sister Aurora, stay-at-home mother of twins, languishes in a dull marriage. Winona, overweight since adolescence, envies Vivi, whose looks get her everything she wants, especially men. Indeed, Winona’s childhood crush Luke recently proposed to Vivi. Despite Aurora’s urging (her principal role is as sisterly referee), Winona won’t tell Vivi she loves Luke. Yearning for Dallas, Vivi stands up Luke to fall into bed with the enigmatic, tattooed cowboy. Winona snitches to Luke: engagement off. Vivi marries Dallas over Henry’s objections. The love-match triumphs, and Dallas, though scarred by child abuse, is an exemplary father to son Noah. One Christmas Eve, the town floozy is raped and murdered. An eyewitness and forensic evidence incriminate Dallas. Winona refuses to represent him, consigning him to the inept services of a public defender. After a guilty verdict, he’s sentenced to life without parole. A decade later, Winona has reached an uneasy truce with Vivi, who’s still pining for Dallas. Noah is a sullen teen, Aurora a brittle but resigned divorcée. Noah learns about the Seattle Innocence Project. Could modern DNA testing methods exonerate Dallas? Will Aunt Winona redeem herself by reopening the case? The outcome, while predictable, is achieved with more suspense and less sentimental histrionics than usual for Hannah.
Above-average formula fiction, making full display of the author’s strong suits: sense of place, compassion for characters and understanding of family dynamics.Pub Date: Feb. 9, 2009
ISBN: 978-0-312-36410-6
Page Count: 400
Publisher: St. Martin's
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Oct. 15, 2008
A strict report, worthy of sympathy.
A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.
"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….
A strict report, worthy of sympathy.Pub Date: June 15, 1951
ISBN: 0316769177
Page Count: -
Publisher: Little, Brown
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: June 15, 1951
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