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THE KING IS DEAD

The tale’s circuitous, cryptic organization is daunting, but Lewis’s crisp, forthright style and arresting character...

A legacy of instability and alienation plagues two generations in this ruthlessly compact third outing by Lewis (Why the Tree Loves the Ax, 1999, etc.).

A tricky structure that involves leaps forward and backward in time and seemingly unrelated subplots eventually discloses connections between WWII hero and political functionary Walter Selby and his son Frank, a film actor whose burden of untold family secrets propels him into early retirement. The story’s first half depicts Walter’s infatuation with his eventual wife, beautiful, distractible Nicole Lattimore; his disillusioning tenure as aide to Tennessee’s manipulative governor; and Walter’s heartbroken discovery of Nicole’s infidelity, after which he shoots her to death and is sent to prison. The second half portrays Frank as a foster child (who takes the surname of his “new” parents the Cartwrights) raised with his younger sister Gloria in ignorance of their family’s past; a teenager obsessed with a seductive classmate (Kimmie Remington) on her way to becoming an irreversible paranoid schizophrenic; and a middle-aged divorced father whose buried energies are reawakened when aging film queen Lenore Riviere tempts him with a “riddling” story of a bastard prince’s moral quandary involving his betrayed father and adulterous mother (which is, incidentally, the source of Lewis’s title). There are also loosely related episodes featuring a murdered lottery winner and an itinerant Native American, and inexplicably, the full text of Casey Stengel’s testimony before Tennessee Senator Estes Kefauver’s Antitrust and Monopoly Subcommittee. Lewis doesn’t pull all these materials together, but does create some smashing effects in his dénouement, as Frank travels to his dying father’s bedside seeking the answer to the “riddle” that embraces father and son alike: “Where does a man go, if he’s done wrong?”

The tale’s circuitous, cryptic organization is daunting, but Lewis’s crisp, forthright style and arresting character portraits lead toward a most satisfying payoff.

Pub Date: July 25, 2003

ISBN: 0-375-41417-7

Page Count: 272

Publisher: Knopf

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: May 15, 2003

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THE THINGS WE DO FOR LOVE

Heartfelt, yes, but pretty routine.

Life lessons.

Angie Malone, the youngest of a big, warm Italian-American family, returns to her Pacific Northwest hometown to wrestle with various midlife disappointments: her divorce, Papa’s death, a downturn in business at the family restaurant, and, above all, her childlessness. After several miscarriages, she, a successful ad exec, and husband Conlan, a reporter, befriended a pregnant young girl and planned to adopt her baby—and then the birth mother changed her mind. Angie and Conlan drifted apart and soon found they just didn’t love each other anymore. Metaphorically speaking, “her need for a child had been a high tide, an overwhelming force that drowned them. A year ago, she could have kicked to the surface but not now.” Sadder but wiser, Angie goes to work in the struggling family restaurant, bickering with Mama over updating the menu and replacing the ancient waitress. Soon, Angie befriends another young girl, Lauren Ribido, who’s eager to learn and desperately needs a job. Lauren’s family lives on the wrong side of the tracks, and her mother is a promiscuous alcoholic, but Angie knows nothing of this sad story and welcomes Lauren into the DeSaria family circle. The girl listens in, wide-eyed, as the sisters argue and make wisecracks and—gee-whiz—are actually nice to each other. Nothing at all like her relationship with her sluttish mother, who throws Lauren out when boyfriend David, en route to Stanford, gets her pregnant. Will Lauren, who’s just been accepted to USC, let Angie adopt her baby? Well, a bit of a twist at the end keeps things from becoming too predictable.

Heartfelt, yes, but pretty routine.

Pub Date: July 1, 2004

ISBN: 0-345-46750-7

Page Count: 400

Publisher: Ballantine

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: May 15, 2004

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MAGIC HOUR

Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.

Sisters work together to solve a child-abandonment case.

Ellie and Julia Cates have never been close. Julia is shy and brainy; Ellie gets by on charm and looks. Their differences must be tossed aside when a traumatized young girl wanders in from the forest into their hometown in Washington. The sisters’ professional skills are put to the test. Julia is a world-renowned child psychologist who has lost her edge. She is reeling from a case that went publicly sour. Though she was cleared of all wrongdoing, Julia’s name was tarnished, forcing her to shutter her Beverly Hills practice. Ellie Barton is the local police chief in Rain Valley, who’s never faced a tougher case. This is her chance to prove she is more than just a fading homecoming queen, but a scarcity of clues and a reluctant victim make locating the girl’s parents nearly impossible. Ellie places an SOS call to her sister; she needs an expert to rehabilitate this wild-child who has been living outside of civilization for years. Confronted with her professional demons, Julia once again has the opportunity to display her talents and salvage her reputation. Hannah (The Things We Do for Love, 2004, etc.) is at her best when writing from the girl’s perspective. The feral wolf-child keeps the reader interested long after the other, transparent characters have grown tiresome. Hannah’s torturously over-written romance passages are stale, but there are surprises in store as the sisters set about unearthing Alice’s past and creating a home for her.

Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.

Pub Date: March 1, 2006

ISBN: 0-345-46752-3

Page Count: 400

Publisher: Ballantine

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: Dec. 1, 2005

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