Forget Grisham. Grippando works in the James Patterson mold: high concepts, simple characters, prefab thrills, turbo-charged...
A wild will turns its legatees into clay pigeons in Miami lawyer Jack Swyteck’s latest outing.
Sally Fenning’s luckless first marriage ended in poverty, divorce, and homicide: A masked man broke into her house, attacked her, and drowned her four-year-old daughter Katherine. Five years later, her second marriage seems to have gone a lot better; a cagey prenup and prudent investments have left her $46 million richer. So why does she contact a hit man and ask him to kill her? If she’s so devastated by Katherine’s murder, why has she waited five years? And why does the will she leaves behind after she’s shot to death on the freeway divide her entire estate among six people she didn’t even like, with the stipulation that the whole pot will go to the last survivor? As the would-be heirs—Sally’s ex Miguel Rios, his divorce lawyer Geraldo Colletti, Miami Tribune reporter Deirdre Meadows, assistant state attorney Mason Rudsky, small-time hoodlum Tatum Knight, and mysterious Alan Sirap—begin eyeing each other nervously, Swyteck (Beyond Suspicion, 2002, etc.), who wants nothing to do with the case, gets dragged into it by his best friend, Tatum’s brother Theo, who insists that his brother didn’t kill Sally, even though he’s the hit man she pitched her own death to. Jack spins his wheels interminably filing suit against Rudsky to force him to disclose files on Katherine’s unsolved murder and flying to the Ivory Coast to see Sally’s sister Rene, a pediatrician working with Children First, so it’s a good long time before the heirs predictably start to die and the fun (though not the logic, complexity, or surprise) begins.
Forget Grisham. Grippando works in the James Patterson mold: high concepts, simple characters, prefab thrills, turbo-charged pacing, and utterly forgettable twists and turns.Pub Date: July 8, 2003
ISBN: 0-06-000555-6
Page Count: 384
Publisher: HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 15, 2003
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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