An overlong episode of That Seventies Show. No jokes.
Feminism destroys marriage, in another earnest family drama from the author of Piper (2001), etc.
Remember those pesky women’s groups, with their inflammatory literature and fiery rhetoric? Get into the Wayback Machine and meet Cyrus Stapleton of Seattle, about to become a lonely guy. What can he do about it? Nothing much, it seems, besides whimper a little and obediently pack his bags when newly empowered Jude tells him it’s over. But what about the kids? Cyrus asks plaintively. Are you sure you want them? Didn’t you say you were feeling smothered, honey? Jude demurs. Looks like she’s been talking to a lawyer already, gosh darn it. And what about those manila folders labeled Kids, Property, and Support? She’s never been that organized before, Cyrus realizes. Why, he can still remember the day 15 years ago when Jude left their daughter Justine in a portable baby bed in a parking lot, right where someone could drive over her. And someone nearly did. And what about the brave quiver in son Derek’s chin and the tears rolling down his manly little eight-year-old face? Doesn’t Jude care about anybody but herself? Um, no. Cyrus’s peacenik brother advises him to hang tough and date. So he takes out Lill, the leader of Jude’s women’s group, a few times. But when he discovers that Lill has moved in with Jude, and the kids know that the women are a couple—well, a man’s gotta draw the line somewhere. But Cyrus doesn’t. Even after his daughter’s failed suicide attempt, he still won’t say right out loud that a live-in lesbian lover may not be the best custody arrangement, though Jude needles him about being uncool. “They pick up on your silence, Cyrus.” Not surprisingly, he files a motion to gain custody, but the outcome is, well, sort of a surprise.
An overlong episode of That Seventies Show. No jokes.Pub Date: Sept. 1, 2003
ISBN: 1-57962-092-2
Page Count: 224
Publisher: Permanent Press
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 15, 2003
If the elusive Pynchon regularly cranked out novels, then this latest addition to his semi-classic oeuvre would be considered an excellent, if flawed, fiction, not as demanding and complex as Gravity's Rainbow, nor as neat and clever as The Crying of Lot 49 and V. As it is, coming 17 years since the last book, it's something of a disappointment.
Yes, it's compulsively funny, full of virtuoso riffs, and trenchant in its anarcho-libertarian social commentary. But there's a missing dimension in this tale of post-Sixties malaise—a sense of characters being more than an accumulation of goofy allusions and weird behavior. And all of its winding, conspiratorially digressive plot adds up to a final moment of apparently unintentional kitsch—a limp scene reuniting a girl and her dog. Built on flashbacks to the 60's, the story reenacts in 1984 the struggles that refuse to disappear. Not politics really, but the sense of solidarity and betrayal that marks both periods for the numerous characters that wander into this fictional vortex. At the center is Frenesi (Free and Easy) Gates, who's anything but. A red-diaper baby and radical film-maker during the rebellion-charged 60's, Frenesi sold her soul to a man in uniform, the quintessential Nixon-Reagan fascist, Brock Vond, a fed whose manic pursuit of lefties and dopers finds him abusing civil rights over three decades. He's motivated not just by innate evil, but by his obsession with Frenesi, whom he sets up as a sting-operation expert protected under the Witness Protection Program. Meanwhile, the venomous Vond sees to it that Frenesi's hippie husband, Zoyd Wheeler, and her daughter, Prairie, are "disappeared" to Vineland, the northern California town where L.A. counterculturalists lick their collective wounds among the redwoods, and bemoan "the heartless power of the scabland garrison state the green free America of their childhoods even then was turning into." Brilliant digressions on Californian left-wing history, the saga of The People's Republic of Rock and Roll, a Mob wedding, and the living dead known as the Thanatoids all come bathed in the clarity of Pynchon's eye-popping language.
Pynchon's latest should prove to the legions of contemporary scribbler-fakers that it isn't enough to reproduce pop-schlock on the page, it needs to be siphoned through the kind of imaginative genius on display everywhere here.
Pub Date: Feb. 1, 1990
ISBN: 0141180633
Page Count: 385
Publisher: Little, Brown
Review Posted Online: Oct. 4, 2011
Kirkus Reviews Issue: Jan. 15, 1990
PERSPECTIVES
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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