An intelligence officer, out of work thanks to the New World Order, goes free-lance to find out why an old associate took the trouble to crawl into his bathroom before expiring of multiple bullet wounds. Hunter's thrillers include The Potsdam Bluff and Tailspin. There's a bit of '40s ``Why you....I oughtta'' flavor, plus a spunky aviatrix—but everything else is quite up-to-date in this brisk, cynical thriller about a plot to tidy up the world drug- market and possibly advance the cause of a German neo-fascist politician. Even a past working relationship with the current President in post-Bush America is not enough to protect Tom Sweeney from peacetime budget cuts. Laid off from his high-level job at a between-the-cracks intelligence agency, the handsome bachelor cheerfully plans a few months of goofing off—but then a call from the police informs him that a corpse has been found in his bathroom and that the dead man has left a message in blood. The policeman turns out to be a fake, but the message is a real warning of danger for both Tom and the President. Within hours, there are attempts on Sweeney's life, and it becomes necessary for him to flee his pleasant Chesapeake Bay hideaway and form an ad hoc alliance with his beautiful ex-assistant, now an aerobat, and with an unusually resourceful automobile mechanic. Sweeney's predicament has something to do with an immensely complex scheme to monopolize the cocaine industry using pilotless planes and boats and vast amounts of cash. His enemies include an especially loathsome TV personality, a pack of vicious Germans, the President's ambitious and sexy chief of staff, the very nasty Vice President, and perhaps even Sweeney's old boss. The bad guys have not calculated on the persistence of an unusually intelligent general heading the drug- enforcement effort, Sweeney's remarkable survival skills, or the maneuverability of the lady's ancient flying machine. Rattles along pleasantly enough.
Pub Date: Sept. 24, 1992
ISBN: 0-312-85159-6
Page Count: 336
Publisher: Tor
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 1, 1992
BOOK REVIEW
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
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
APPRECIATIONS
The phrase “tour de force” could have been invented for this audacious novel.
Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives.
Yanagihara (The People in the Trees, 2013) takes the still-bold leap of writing about characters who don’t share her background; in addition to being male, JB is African-American, Malcolm has a black father and white mother, Willem is white, and “Jude’s race was undetermined”—deserted at birth, he was raised in a monastery and had an unspeakably traumatic childhood that’s revealed slowly over the course of the book. Two of them are gay, one straight and one bisexual. There isn’t a single significant female character, and for a long novel, there isn’t much plot. There aren’t even many markers of what’s happening in the outside world; Jude moves to a loft in SoHo as a young man, but we don’t see the neighborhood change from gritty artists’ enclave to glitzy tourist destination. What we get instead is an intensely interior look at the friends’ psyches and relationships, and it’s utterly enthralling. The four men think about work and creativity and success and failure; they cook for each other, compete with each other and jostle for each other’s affection. JB bases his entire artistic career on painting portraits of his friends, while Malcolm takes care of them by designing their apartments and houses. When Jude, as an adult, is adopted by his favorite Harvard law professor, his friends join him for Thanksgiving in Cambridge every year. And when Willem becomes a movie star, they all bask in his glow. Eventually, the tone darkens and the story narrows to focus on Jude as the pain of his past cuts deep into his carefully constructed life.
The phrase “tour de force” could have been invented for this audacious novel.Pub Date: March 10, 2015
ISBN: 978-0-385-53925-8
Page Count: 720
Publisher: Doubleday
Review Posted Online: Dec. 21, 2014
Kirkus Reviews Issue: Jan. 1, 2015
BOOK REVIEW
BOOK REVIEW
PROFILES
PERSPECTIVES
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