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SIDE EFFECTS

Name: SIDE EFFECTS
Author: Harvey Jacobs
ISBN: 978-0-96-341851-7

by Harvey Jacobs ‧ RELEASE DATE: Feb. 14, 2009

A great comic novel and a huge leap forward for one of America’s most underrated and accomplished writers.

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The culture of pharmaceutical overkill is the subject—and target—of this high-energy fifth novel from the little-known comic surrealist whose best books (American Goliath, 1998, etc.) rival the late 20th-century antic fiction of Kurt Vonnegut, Joseph Heller and Stanley Elkin.

Its protagonist—and victim—is Simon Apple, whose uniquely embattled life (shaped by the unforeseen effects of prescribed medications) unrolls before him when he’s on death row awaiting execution for a “murder” suspiciously linked to the very pharmaceutical company responsible for Simon’s alarming bodily transformations. As Jacobs juxtaposes the story of Simon’s life with details of his incarceration, the worst excesses of corporate greed and malfeasance, the cult of fame and the danger zones of sex and commitment are skewered with a ferocious energy that recalls the genial albeit pitch-black madness of Catch-22 and the weirdly wonderful new science of H.G. Wells’s Tono-Bungay. As Simon is successively afflicted with “explosive growth,” the possession of (first) antlers then gills, penile contraction and expansion, electronically mischievous flatulence and other arcane dysfunctions, his usefulness as poster boy for corporate behemoth Regis Pharmaceuticals is pronounced dead. And CEO Regis Van Clay, an egomaniacal masochist of hilariously epic dimensions, schemes to erase the blot on his company’s escutcheon that perpetually ailing Simon has become. At times this novel’s ebullient particulars threaten to overwhelm the reader, but beating beneath its manic surface (like Simon’s unstoppable heart) is a brilliant expressionistic portrayal of an all-too-human sufferer “doomed to live life at arm’s length, a stranger to everyone including himself.” Despite numerous antecedents and influences—besides those aforementioned, there are echoes of Richard Condon, S.J. Perelman, James Purdy’s bizarre bildungsroman Malcolm and Katherine Dunn’s even more bizarre masterpiece Geek Love—Jacobs’s monstrous satire is a truly original work.

A great comic novel and a huge leap forward for one of America’s most underrated and accomplished writers.

Pub Date: Feb. 14, 2009

ISBN: 978-0-96-341851-7

Page Count: 392

Publisher: N/A

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: Jan. 15, 2009

Categories:

GENERAL FICTION

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SUMMER ISLAND

by Kristin Hannah ‧ RELEASE DATE: March 1, 2001

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with...

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Talk-show queen takes tumble as millions jeer.

Nora Bridges is a wildly popular radio spokesperson for family-first virtues, but her loyal listeners don't know that she walked out on her husband and teenaged daughters years ago and didn't look back. Now that a former lover has sold racy pix of naked Nora and horny himself to a national tabloid, her estranged daughter Ruby, an unsuccessful stand-up comic in Los Angeles, has been approached to pen a tell-all. Greedy for the fat fee she's been promised, Ruby agrees and heads for the San Juan Islands, eager to get reacquainted with the mom she plans to betray. Once in the family homestead, nasty Ruby alternately sulks and glares at her mother, who is temporarily wheelchair-bound as a result of a post-scandal car crash. Uncaring, Ruby begins writing her side of the story when she's not strolling on the beach with former sweetheart Dean Sloan, the son of wealthy socialites who basically ignored him and his gay brother Eric. Eric, now dying of cancer and also in a wheelchair, has returned to the island. This dismal threesome catch up on old times, recalling their childhood idylls on the island. After Ruby's perfect big sister Caroline shows up, there's another round of heartfelt talk. Nora gradually reveals the truth about her unloving husband and her late father's alcoholism, which led her to seek the approval of others at the cost of her own peace of mind. And so on. Ruby is aghast to discover that she doesn't know everything after all, but Dean offers her subdued comfort. Happy endings await almost everyone—except for readers of this nobly preachy snifflefest.

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with syrupy platitudes about life and love.

Pub Date: March 1, 2001

ISBN: 0-609-60737-5

Page Count: 336

Publisher: Crown

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Jan. 15, 2001

Categories:

GENERAL FICTION

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LAST ORDERS

by Graham Swift ‧ RELEASE DATE: April 5, 1996

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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.