And it has one immortal moment: Uncle Frank’s sullen declaration that “By nature, Greeks are depressed people . . . . We’re...

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THE RICH PART OF LIFE

Winsomeness and whimsy are laid on with a trowel in this nevertheless quite likable debut about a suburban Illinois family transformed by outrageous misfortune, and even more outrageous good fortune.

While Theo Pappas, a 60-ish university history prof (and Civil War specialist) and his two sons are grieving the loss of the boys’ mother, Theo wins $190 million in a state lottery. Twelve-year-old Teddy (who narrates) begins mentally spending the money his father can’t seem to deal with, and younger brother Tommy begins exhibiting increasingly deranged behavior, while the world beats a path to the Pappases’ door, begging contributions for innumerable causes and crackpot schemes. Unmarried Aunt Bess (a wonderful comic character) joins the family, followed by seedy-looking Uncle Frank, a fast-talking producer of “genre” movies (which feature “vampire cheerleaders” and “Celebrity Shewolves”), hoping to elude the loan sharks on his trail. It isn’t all as amusing as it should be, because too many scenes are unshaped and unfunny, and Kokoris doesn’t know when to modulate the appearances of such initially promising figures as rapacious Gloria Wilcott, the bosomy neighbor who aims to capture Theo, or the campy leech known as Sylvanius (“the vampire who starred in . . . Uncle Frank’s movies”)—a cross between Quentin Crisp and Ed Wood, Jr. The novel also flounders in an overextended account of a cheesy reenactment of the Battle of Bull Run (in which Theo is persuaded to impersonate “Stonewall” Jackson), and in the subplot involving Bobby Lee Anderson, the redneck stalker whose real relationship to the Pappases will not surprise any reader past adolescence. For all that, Teddy and especially five-year-old Tommy are vivid, engaging characters, and the story comes to life whenever Kokoris indulges his flair for farcical malapropism and misstatement (“This all reminds me of a Norman Rockwell movie,” etc.).

And it has one immortal moment: Uncle Frank’s sullen declaration that “By nature, Greeks are depressed people . . . . We’re not all Zorba.” Now that’s funny.

Pub Date: May 1, 2001

ISBN: 0-312-27479-3

Page Count: 336

Publisher: St. Martin's

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 1, 2001

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A strange, subtle, and haunting novel.

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THE GLASS HOTEL

A financier's Ponzi scheme unravels to disastrous effect, revealing the unexpected connections among a cast of disparate characters.

How did Vincent Smith fall overboard from a container ship near the coast of Mauritania, fathoms away from her former life as Jonathan Alkaitis' pretend trophy wife? In this long-anticipated follow-up to Station Eleven (2014), Mandel uses Vincent's disappearance to pick through the wreckage of Alkaitis' fraudulent investment scheme, which ripples through hundreds of lives. There's Paul, Vincent's half brother, a composer and addict in recovery; Olivia, an octogenarian painter who invested her retirement savings in Alkaitis' funds; Leon, a former consultant for a shipping company; and a chorus of office workers who enabled Alkaitis and are terrified of facing the consequences. Slowly, Mandel reveals how her characters struggle to align their stations in life with their visions for what they could be. For Vincent, the promise of transformation comes when she's offered a stint with Alkaitis in "the kingdom of money." Here, the rules of reality are different and time expands, allowing her to pursue video art others find pointless. For Alkaitis, reality itself is too much to bear. In his jail cell, he is confronted by the ghosts of his victims and escapes into "the counterlife," a soothing alternate reality in which he avoided punishment. It's in these dreamy sections that Mandel's ideas about guilt and responsibility, wealth and comfort, the real and the imagined, begin to cohere. At its heart, this is a ghost story in which every boundary is blurred, from the moral to the physical. How far will Alkaitis go to deny responsibility for his actions? And how quickly will his wealth corrupt the ambitions of those in proximity to it? In luminous prose, Mandel shows how easy it is to become caught in a web of unintended consequences and how disastrous it can be when such fragile bonds shatter under pressure.

A strange, subtle, and haunting novel.

Pub Date: March 24, 2020

ISBN: 978-0-525-52114-3

Page Count: 320

Publisher: Knopf

Review Posted Online: Nov. 25, 2019

Kirkus Reviews Issue: Dec. 15, 2019

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Fierce, poetic, uncompromising.

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THE CITY WE BECAME

This extremely urban fantasy, a love/hate song to and rallying cry for the author’s home of New York, expands her story “The City, Born Great” (from How Long ’Til Black Future Month, 2018).

When a great city reaches the point when it's ready to come to life, it chooses a human avatar, who guides the city through its birthing and contends with an extradimensional Enemy who seeks to strike at this vulnerable moment. Now, it is New York City’s time to be born, but its avatar is too weakened by the battle to complete the process. So each of the individual boroughs instantiates its own avatar to continue the fight. Manhattan is a multiracial grad student new to the city with a secret violent past that he can no longer quite remember; Brooklyn is an African American rap star–turned–lawyer and city councilwoman; Queens is an Indian math whiz here on a visa; the Bronx is a tough Lenape woman who runs a nonprofit art center; and Staten Island is a frightened and insular Irish American woman who wants nothing to do with the other four. Can these boroughs successfully awaken and heal their primary avatar and repel the invading white tentacles of the Enemy? The novel is a bold calling out of the racial tensions dividing not only New York City, but the U.S. as a whole; it underscores that people of color are an integral part of the city’s tapestry even if some white people prefer to treat them as interlopers. It's no accident that the only white avatar is the racist woman representing Staten Island, nor that the Enemy appears as a Woman in White who employs the forces of racism and gentrification in her invasion; her true self is openly inspired by the tropes of the xenophobic author H.P. Lovecraft. Although the story is a fantasy, many aspects of the plot draw on contemporary incidents. In the real world, white people don’t need a nudge from an eldritch abomination to call down a violent police reaction on people of color innocently conducting their daily lives, and just as in the book, third parties are fraudulently transferring property deeds from African American homeowners in Brooklyn, and gentrification forces out the people who made the neighborhood attractive in the first place. In the face of these behaviors, whataboutism, #BothSides, and #NotAllWhitePeople are feeble arguments.

Fierce, poetic, uncompromising.

Pub Date: March 24, 2020

ISBN: 978-0-316-50984-8

Page Count: 448

Publisher: Orbit

Review Posted Online: Nov. 25, 2019

Kirkus Reviews Issue: Dec. 15, 2019

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