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A CRACK-UP AT THE RACE RIOTS

Riding a gush of critical acclaim for his work on the films Kids (screenwriter) and Gummo (director), Korine, at the ripe age of 23, attempts to make a novel by using a little bit of everything, but botches the job. What we get, in fact, is more an MTV-style collage of lists, story fragments, indecipherable handwritten notes, crude drawings, photos, dialogue, bad jokes, wordplay and pop culture references to music, movies, drugs and death—all resolutely defying cohesion. Still, there a few identifiable thematic concerns. Suicide tops the list, as frequent references culminate in a group of 11 suicide notes, the last of which begins, “Mother, I am in love with you.” Not far behind is a focus on the celebrity life, and in this vein Korine demonstrates a certain breadth of knowledge and interest. A scandal involving silent movie star Fatty Arbuckle is given almost as much attention as the final thoughts of Tupac Shakur, and in between are snippets about Kris Kristofferson, Billie Jean King, Howard Hughes, Matt Dillon, and a cavalcade of others. Jessica Tandy earns especially randy attention (although the motivation behind this is never revealed), and sexual detail pops up in other ways as well, ranging from the incest angle to homophobes planning action. The racial component noted in the title features in a suicide note, and separate photos of the KKK and an unsmiling black boy round out the picture. A final observation notes that “To feel nothing was peace”—perfectly describing the impact of everything in the preceding pages. Neither the voice of a generation nor the ravings of a lunatic, but creative overreaching, clearly—the writing of a talent thrust too soon into the limelight. (Author tour)

Pub Date: May 1, 1998

ISBN: 0-385-48588-3

Page Count: 192

Publisher: N/A

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: April 1, 1998

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MAGIC HOUR

Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.

Sisters work together to solve a child-abandonment case.

Ellie and Julia Cates have never been close. Julia is shy and brainy; Ellie gets by on charm and looks. Their differences must be tossed aside when a traumatized young girl wanders in from the forest into their hometown in Washington. The sisters’ professional skills are put to the test. Julia is a world-renowned child psychologist who has lost her edge. She is reeling from a case that went publicly sour. Though she was cleared of all wrongdoing, Julia’s name was tarnished, forcing her to shutter her Beverly Hills practice. Ellie Barton is the local police chief in Rain Valley, who’s never faced a tougher case. This is her chance to prove she is more than just a fading homecoming queen, but a scarcity of clues and a reluctant victim make locating the girl’s parents nearly impossible. Ellie places an SOS call to her sister; she needs an expert to rehabilitate this wild-child who has been living outside of civilization for years. Confronted with her professional demons, Julia once again has the opportunity to display her talents and salvage her reputation. Hannah (The Things We Do for Love, 2004, etc.) is at her best when writing from the girl’s perspective. The feral wolf-child keeps the reader interested long after the other, transparent characters have grown tiresome. Hannah’s torturously over-written romance passages are stale, but there are surprises in store as the sisters set about unearthing Alice’s past and creating a home for her.

Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.

Pub Date: March 1, 2006

ISBN: 0-345-46752-3

Page Count: 400

Publisher: Ballantine

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: Dec. 1, 2005

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LAST ORDERS

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

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