Standard romantic pabulum, but Alcott fans will find interesting tidbits to savor.
The title pretty much says it all about this first novel from McNees, an entry into the new subgenre that imagines the love life of spinster authoresses.
In her early 20s, Louisa moves to Walpole, N.H., for the summer with her financially strapped family: rigidly idealist father Bronson (portrayed with far more complexity in Geraldine Brooks’s Pulitzer-winning March), loving mother Marmee and sisters Anna, Lizzie and May, all obviously recognizable as the models for the Little Women characters. While Marmee hovers over frail Lizzie and spoils immature May, Anna and Louisa get to know the young people of the town. Conventional Anna falls in love with Nicholas Sutton, a wealthy young man who clearly reciprocates her feelings. Louisa, who already has literary aspirations, tries to resist her attraction to Joseph Singer, whose father runs the local dry-goods store and whose younger sister becomes May’s best friend. Louisa is as rude as possible to Joseph, but eventually his intelligence and sensitivity wear her down and the two share a kiss. But at a harvest dinner soon after, Mr. Sutton announces the engagement of Nicholas’s younger sister Nora to Joseph, an arrangement made by the fathers. Unfortunately, Joseph’s father is not only deathly ill but also on the brink of financial ruin, while heiress Nora requires a respectable fiancé to rehabilitate her tarnished reputation. Louisa is crushed, but she and Joseph rendezvous and make love. Nicholas dies in an accident; Anna leaves home to become a teacher; the Alcotts leave Walpole; and Louisa heads to Boston. She is despondent over a lack of publishing success when Joseph shows up. They make plans to run away, but then she receives word that The Saturday Evening Gazette has accepted her story, and she stands Joseph up at the station. Years later, now a famous author, she returns to Walpole to see him once again.
Standard romantic pabulum, but Alcott fans will find interesting tidbits to savor.Pub Date: April 1, 2010
ISBN: 978-0-399-15652-6
Page Count: 352
Publisher: Amy Einhorn/Putnam
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: March 1, 2010
The late (d. 1988), leathery, awesomely unstoppable (over 100 books still in print) L’Amour, still producing fluently from his grave (End of the Drive, 1997), offers one more gathering of unpublished tales, proving again that great writing laughs at death. Showing sheer contempt for slow openings, L’Amour’s seven newly discovered short stories offer some breath-catching first paragraphs echoing with the cold steel click of a Colt .45 hammer being cocked. The lead story, “The Man from Utah,” polishes L’Amour’s walnut prose to its glossiest grain. Bearing a fearsome reputation as a gunfighter, Marshall Utah Blaine arrives in Squaw Creek to investigate 14 recent murders (three were marshals) by a cunning bandit masquerading as an upright citizen. By a process of deduction, the shrewd Blaine narrows his suspects down until he has the killer. “Here Ends the Trail” opens with a High L’Amouresque Miltonic Inversion: “Cold was the night and bitter the wind and brutal the trail behind. Hunched in the saddle, I growled at the dark and peered through the blinding rain. The agony of my wound was a white-hot flame from the bullet of Korry Gleason.” This builds to an explosive climax that mixes vengeance with great-heartedness. “Battle at Burnt Camp,” “Ironwood Station” and “The Man from the Dead Hills” all live up to the melodrama of their blue-steel titles. “Strawhouse Trail” opens memorably with the line: “He looked through his field glasses into the eyes of a dying man.” And never lets up. The title novella tells of Lona Markham’s unwilling engagement to six-foot-five, 250-pound, harsh-lipped Frank Mailer, who has “blue, slightly glassy eyes.” Will Lance Kilkenny, the mysterious Black Rider, save her from indestructible Mailer? Stinging stories of powerful men against landscapes you can strike a match on.
Pub Date: May 11, 1998
ISBN: 0-553-10833-6
Page Count: 260
Publisher: Bantam
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 1998
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A fine celebration of the many guises a short story can take while still doing its essential work.
Latest installment of the long-running (since 1915, in fact) story anthology.
Helmed by a different editor each year (in 2018, it was Roxane Gay, and in 2017, Meg Wolitzer), the series now falls to fiction/memoir writer Doerr (All the Light We Cannot See, 2014, etc.) along with series editor Pitlor. A highlight is the opener, an assured work of post-apocalyptic fiction by young writer Nana Kwame Adjei-Brenyah that’s full of surprises for something in such a convention-governed genre: The apocalypse in question is rather vaguely environmental, and it makes Kazuo Ishiguro’s Never Let Me Go seem light and cheerful by contrast: “Jimmy was a shoelooker who cooked his head in a food zapper,” writes Adjei-Brenyah, each word carrying meaning in the mind of the 15-year-old narrator, who’s pretty clearly doomed. In Kathleen Alcott’s “Natural Light,” which follows, a young woman discovers a photograph of her mother in a “museum crowded with tourists.” Just what her mother is doing is something for the reader to wonder at, even as Alcott calmly goes on to reveal the fact that the mother is five years dead and the narrator lonely in the wake of a collapsed marriage, suggesting along the way that no one can ever really know another’s struggles; as the narrator’s father says of a secret enshrined in the image, “She never told you about that time in her life, and I believed that was her choice and her right.” In Nicole Krauss’ “Seeing Ershadi,” an Iranian movie actor means very different things to different dreamers, while Maria Reva’s lyrical “Letter of Apology” is a flawless distillation of life under totalitarianism that packs all the punch of a Kundera novel in the space of just a dozen-odd pages. If the collection has a theme, it might be mutual incomprehension, a theme ably worked by Weike Wang in her standout closing story, “Omakase,” centering on “one out of a billion or so Asian girl–white guy couples walking around on this earth.”
A fine celebration of the many guises a short story can take while still doing its essential work.Pub Date: Oct. 1, 2019
ISBN: 978-1-328-48424-6
Page Count: 320
Publisher: Houghton Mifflin Harcourt
Review Posted Online: July 27, 2019
Kirkus Reviews Issue: Aug. 15, 2019
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