Fourteen years and three novels after Hearts, Wolitzer picks up precisely where she left off: widowed Linda Reismann, 27, is pulling into Los Angeles in her Mustang; Robin, her bratty adolescent stepdaughter, is asleep on the back seat. Skillfully interweaving a plot recap for those who missed the earlier volume, the author hurtles her characters through time into 1992. Rodney King and Reginald Denny are beaten, stores are destroyed by the riots, Clinton hits the campaign trail. The fact that Linda remains 27 and Robin 13 may startle some readers of the 1980 novel, but both characters are so genuine here that it scarcely matters. Wolitzer (who has also written several YA novels) captures the teenager brilliantly. Walking into a gourmet take-out shop for a snack, Robin finds only vegetable chips: ``They tasted a lot like regular potato chips, and the seltzer wasn't bad either. But what a rip-off.'' Passages such as this also indicate the major conflict that fuels the novel: the discrepancies between wealth and poverty, enchantment and delusion, for which LA's tinsel-town atmosphere provides the perfect setting. Deftly, quietly, characters milk each other emotionally and physically, yet amid it all some desperately and at times foolishly cling to love. Despite an onslaught of difficulties—everything from a car crash and a robbery/murder to a carefully engineered custody threat—Wolitzer guides readers at a slow, even pace, always allowing time for poetic description. Little asides that in some novels interfere with the pace here blend in seamlessly, for example, Linda's memory of a high school friend. Actions and reactions get sentimental at times, and a major plot development is tied up too easily, but the majority of readers will be too caught up in the characters' day-to-day frustrations and accomplishments for such nit-picking. (Literary Guild alternate selection; $50,000 ad/promo; author tour)
Pub Date: May 2, 1994
ISBN: 0-06-118007-6
Page Count: 384
Publisher: HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 1, 1994
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Edgar’s own story in the present is more compelling than the revelations of the key’s past, and the novel might have been...
The prolific master of psycho-horror returns to the mysteries of the creative process, a subject that has inspired some of his most haunting work.
This could be considered a companion piece to The Shining, offering plenty of reversals on that plot. In both cases, isolation has severe effects on the psyche of an artist, yet where the former novel found its protagonist in a lethal state of writer’s block, the latter sees a one-time building magnate transformed into an impossibly prolific and powerful painter, due to circumstances beyond his control. And where the isolation in the former had a family cut off from society by a frigid northern winter, the setting of the latter is a mysterious Florida key, lush and tropical in its overgrowth, somehow immune to commercial development. A self-made millionaire, Edgar Freemantle narrates the novel in a conversational, matter-of-fact tone. He explains how a job-site accident cost him his arm, his sanity (during the early part of an extended recuperation) and his wife (whom he had physically threatened after the accident transformed him into something other than himself). What he gained was a seemingly inexplicable command as a visual artist, particularly after his recuperation (from both his accident and his marriage) takes him to the isolated Duma Key, where the only other inhabitants are an elderly, wealthy woman and her caretaker. It seems that all three have suffered severe traumas that bond them and that perhaps have even drawn them together. Soon Edgar discovers that his art has given him the power not only to predict the future, but to transform it. He ultimately pays a steep price for his artistic gifts, particularly as his investigation of the mysteries of Duma Key lead him to discover the tragic origins of his artistic vision.
Edgar’s own story in the present is more compelling than the revelations of the key’s past, and the novel might have been twice as powerful if it had been cut by a third, but King fans will find it engrossing.Pub Date: Jan. 1, 2008
ISBN: 978-1-4165-5251-2
Page Count: 624
Publisher: Scribner
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 2007
Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the...
Hannah’s sequel to Firefly Lane (2008) demonstrates that those who ignore family history are often condemned to repeat it.
When we last left Kate and Tully, the best friends portrayed in Firefly Lane, the friendship was on rocky ground. Now Kate has died of cancer, and Tully, whose once-stellar TV talk show career is in free fall, is wracked with guilt over her failure to be there for Kate until her very last days. Kate’s death has cemented the distrust between her husband, Johnny, and daughter Marah, who expresses her grief by cutting herself and dropping out of college to hang out with goth poet Paxton. Told mostly in flashbacks by Tully, Johnny, Marah and Tully’s long-estranged mother, Dorothy, aka Cloud, the story piles up disasters like the derailment of a high-speed train. Increasingly addicted to prescription sedatives and alcohol, Tully crashes her car and now hovers near death, attended by Kate’s spirit, as the other characters gather to see what their shortsightedness has wrought. We learn that Tully had tried to parent Marah after her father no longer could. Her hard-drinking decline was triggered by Johnny’s anger at her for keeping Marah and Paxton’s liaison secret. Johnny realizes that he only exacerbated Marah’s depression by uprooting the family from their Seattle home. Unexpectedly, Cloud, who rebuffed Tully’s every attempt to reconcile, also appears at her daughter’s bedside. Sixty-nine years old and finally sober, Cloud details for the first time the abusive childhood, complete with commitments to mental hospitals and electroshock treatments, that led to her life as a junkie lowlife and punching bag for trailer-trash men. Although powerful, Cloud’s largely peripheral story deflects focus away from the main conflict, as if Hannah was loath to tackle the intractable thicket in which she mired her main characters.
Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the pages turning even as readers begin to resent being drawn into this masochistic morass.Pub Date: April 23, 2013
ISBN: 978-0-312-57721-6
Page Count: 416
Publisher: St. Martin's
Review Posted Online: Feb. 17, 2013
Kirkus Reviews Issue: March 1, 2013
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