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SLOW WALK IN A SAD RAIN

A first novel, set at a Special Forces camp in the Laotian jungle, that tries to do for Vietnam what Vonnegut did for WW II, though McAfee's style—one-sentence paragraphs displayed ad nauseam—is merely choppy instead of stoic or absurdist. The narrator copes with the daily grind at ``A Camp'' alongside the likes of ``Shotgun,'' ``Black Spaghetti,'' ``Quiet Voice'' and ``Spec.7 Thompson.'' McAfee effectively evokes a sense of jungle rot—leeches, mildew, triple-canopy jungle and its tribulations—but the episodic structure is never quite fully shaped. Instead, we get pastiches, self-conscious allusions to other Vietnam literature, and instances that either describe the daily grind or try to establish a Wizard of Oz-like sense of absurdity. Shotgun, for instance, promises to kill Colonel Black, who's a compendium of everything that's wrong with the service, but the Colonel, shooting at Shotgun, manages to set off a mine and kill himself instead. Because such characters are cartoon-like rather than rounded, a reader is not sure whether to laugh or shrug at such cosmic justice. Dog turds in another instance are really ``personnel sensors''; such material is full of promise, but McAfee is unable to milk it in the way that a Vonnegut would have managed. Instead, a tepid heroin subplot involving (what else?) Air America, plus other scenes—ranging from lounging in the ``Teamhouse,'' a ``whorehouse-bar-laundry,'' to an attempt to carry the grievously wounded Spaghetti to safety—result in a string of absurdist moral questions (``Is the universe ruled by Bozo the clown?''). Purportedly autobiographical, but likely to be of interest only to hard-core Vietnam archivists. As fiction, it's well- meaning, occasionally original, but mostly derivative.

Pub Date: Feb. 17, 1993

ISBN: 0-446-51642-2

Page Count: 256

Publisher: N/A

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Dec. 1, 1992

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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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