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ON WITH THE STORY

STORIES

A collection of 12 linked and also discrete stories—Barth's first since Chimera (1972)—that may also be a speculative autobiographical novel, from the reigning master of postmodernist metafiction (Once Upon a time, 1994, etc.). Its framework is a vacation trip taken by a middle-age married couple who, we soon realize, are fictionalizing their life together and shared (and differing) ideas about the fiction-making process itself, exchanging stories that are punctuated by their delighted "pillow talk," along with other digressions and interruptions. The stories are often brilliant, invariably quirky riffs on the previously recycled matter of Barth's life, literary vocation, and noodling with various literary-theoretical concepts. Academe looms large, as do the pleasures of life in Maryland's Chesapeake Bay region and the dependable company of a sensitive soulmate acquired in a happy second marriage. The pieces are, more often than not, forbiddingly intricate, festooned not just with digressive tomfoolery but with flash-forwards and alternative twistings and turnings. "And Then One Day . . .," for instance, moves from the picture of a moribund old man keeping himself briefly alive by telling stories to a recounting of the possible futures endured by his daughter, a writer who may or may not end up winning a Nobel Prize. The clever title story employs Zeno's Paradox and Heisenberg's Uncertainty Principle to characterize the happenstance relationship between its author, reading his work in an airline magazine, while in flight next to a woman who's also reading his story, and seeing in its heroine's experiences the pattern of her own life. It goes like that: one demonstration after another that "in physics and fiction alike . . . alternative worldlines are not only imaginable but . . . quite possible." The theoretical stuffiness is, thankfully, modified by precision of statement and appealingly comic invention. Alternately, as it were, cloyingly self-absorbed and uniquely inventive—and very much the same kind of thing Barth has been doing for what seems like decades.

Pub Date: July 10, 1996

ISBN: 0-316-08263-5

Page Count: 272

Publisher: Little, Brown

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: May 1, 1996

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SUMMER ISLAND

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with...

Talk-show queen takes tumble as millions jeer.

Nora Bridges is a wildly popular radio spokesperson for family-first virtues, but her loyal listeners don't know that she walked out on her husband and teenaged daughters years ago and didn't look back. Now that a former lover has sold racy pix of naked Nora and horny himself to a national tabloid, her estranged daughter Ruby, an unsuccessful stand-up comic in Los Angeles, has been approached to pen a tell-all. Greedy for the fat fee she's been promised, Ruby agrees and heads for the San Juan Islands, eager to get reacquainted with the mom she plans to betray. Once in the family homestead, nasty Ruby alternately sulks and glares at her mother, who is temporarily wheelchair-bound as a result of a post-scandal car crash. Uncaring, Ruby begins writing her side of the story when she's not strolling on the beach with former sweetheart Dean Sloan, the son of wealthy socialites who basically ignored him and his gay brother Eric. Eric, now dying of cancer and also in a wheelchair, has returned to the island. This dismal threesome catch up on old times, recalling their childhood idylls on the island. After Ruby's perfect big sister Caroline shows up, there's another round of heartfelt talk. Nora gradually reveals the truth about her unloving husband and her late father's alcoholism, which led her to seek the approval of others at the cost of her own peace of mind. And so on. Ruby is aghast to discover that she doesn't know everything after all, but Dean offers her subdued comfort. Happy endings await almost everyone—except for readers of this nobly preachy snifflefest.

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with syrupy platitudes about life and love.

Pub Date: March 1, 2001

ISBN: 0-609-60737-5

Page Count: 336

Publisher: Crown

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Jan. 15, 2001

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LAST ORDERS

Britisher Swift's sixth novel (Ever After, 1992 etc.) and fourth to appear here is a slow-to-start but then captivating tale of English working-class families in the four decades following WW II. When Jack Dodds dies suddenly of cancer after years of running a butcher shop in London, he leaves a strange request—namely, that his ashes be scattered off Margate pier into the sea. And who could better be suited to fulfill this wish than his three oldest drinking buddies—insurance man Ray, vegetable seller Lenny, and undertaker Vic, all of whom, like Jack himself, fought also as soldiers or sailors in the long-ago world war. Swift's narrative start, with its potential for the melodramatic, is developed instead with an economy, heart, and eye that release (through the characters' own voices, one after another) the story's humanity and depth instead of its schmaltz. The jokes may be weak and self- conscious when the three old friends meet at their local pub in the company of the urn holding Jack's ashes; but once the group gets on the road, in an expensive car driven by Jack's adoptive son, Vince, the story starts gradually to move forward, cohere, and deepen. The reader learns in time why it is that no wife comes along, why three marriages out of three broke apart, and why Vince always hated his stepfather Jack and still does—or so he thinks. There will be stories of innocent youth, suffering wives, early loves, lost daughters, secret affairs, and old antagonisms—including a fistfight over the dead on an English hilltop, and a strewing of Jack's ashes into roiling seawaves that will draw up feelings perhaps unexpectedly strong. Without affectation, Swift listens closely to the lives that are his subject and creates a songbook of voices part lyric, part epic, part working-class social realism—with, in all, the ring to it of the honest, human, and true.

Pub Date: April 5, 1996

ISBN: 0-679-41224-7

Page Count: 304

Publisher: Knopf

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Feb. 15, 1996

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