by John Updike ‧ RELEASE DATE: Oct. 1, 1972
The Updike short story has always been a limited abstract of experience — perhaps only a passing reflection of it — rarely innovative and often an echo chamber of the novels. There is a shiny impermanence here (not to be underestimated — it is so seductive) and change, loss and dissolution surface through the regret-tinted retrospect. Lovely bygones of the '50's — those fat fifties ("When Everyone was Pregnant") before it all changed as "our babies drive cars, push pot. . .riot for peace, eat macrobiotic" and threaten like those youngsters ("The Hillies") "the foundations of our lives." That is also the generation of "I Will Not Let Thee Go" or "The Orphaned Swimming Pool" (partings of one kind or another) or the five concluding stories about the Maples and the sexual dissonance of their marriage. Here we are closest to the Updike of Couples and the Updike who commented elsewhere that "the bourgeois novel is inherently erotic, just as the basic unit of bourgeois order — the family unit built upon the marriage contract — is erotic." Then there are all those "lives not come to anything" — e.g. "The Witnesses" or "I Am Dying, Egypt, Dying" in which "the world was his but slid through him" — a well-traveled, well-heeled youngish man. There are a few Tarbox stories; a group entitled Other Modes which includes the incantatory "Sea's Green Sameness," two which are commentaries, and five which ate really showcase performances. The title story is a marvelous synchronization of associations and convergences and here Updike is at his letter, word and image-perfect best.
Pub Date: Oct. 1, 1972
ISBN: 0394747623
Page Count: 282
Publisher: Knopf
Review Posted Online: Oct. 6, 2011
Kirkus Reviews Issue: Oct. 1, 1972
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by Nora Roberts ‧ RELEASE DATE: June 13, 1995
Thoroughbreds and Virginia blue-bloods cavort, commit murder, and fall in love in Roberts's (Hidden Riches, 1994, etc.) latest romantic thriller — this one set in the world of championship horse racing. Rich, sheltered Kelsey Byden is recovering from a recent divorce when she receives a letter from her mother, Naomi, a woman she has believed dead for over 20 years. When Kelsey confronts her genteel English professor father, though, he sheepishly confesses that, no, her mother isn't dead; throughout Kelsey's childhood, she was doing time for the murder of her lover. Kelsey meets with Naomi and not only finds her quite charming, but the owner of Three Willows, one of the most splendid horse farms in Virginia. Kelsey is further intrigued when she meets Gabe Slater, a blue-eyed gambling man who owns a neighboring horse farm; when one of Gabe's horses is mated with Naomi's, nostrils flare, flanks quiver, and the romance is on. Since both Naomi and Gabe have horses entered in the Kentucky Derby, Kelsey is soon swept into the whirlwind of the Triple Crown, in spite of her family's objections to her reconciliation with the notorious Naomi. The rivalry between the two horse farms remains friendly, but other competitors — one of them is Gabe's father, a vicious alcoholic who resents his son's success — prove less scrupulous. Bodies, horse and human, start piling up, just as Kelsey decides to investigate the murky details of her mother's crime. Is it possible she was framed? The ground is thick with no-goods, including haughty patricians, disgruntled grooms, and jockeys with tragic pasts, but despite all the distractions, the identity of the true culprit behind the mayhem — past and present — remains fairly obvious. The plot lopes rather than races to the finish. Gambling metaphors abound, and sexual doings have a distinctly equine tone. But Roberts's style has a fresh, contemporary snap that gets the story past its own worst excesses.
Pub Date: June 13, 1995
ISBN: 0-399-14059-X
Page Count: 400
Publisher: Putnam
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 15, 1995
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by Kristin Hannah ‧ RELEASE DATE: Feb. 1, 2008
Dated sermonizing on career versus motherhood, and conflict driven by characters’ willed helplessness, sap this tale of...
Lifelong, conflicted friendship of two women is the premise of Hannah’s maudlin latest (Magic Hour, 2006, etc.), again set in Washington State.
Tallulah “Tully” Hart, father unknown, is the daughter of a hippie, Cloud, who makes only intermittent appearances in her life. Tully takes refuge with the family of her “best friend forever,” Kate Mularkey, who compares herself unfavorably with Tully, in regards to looks and charisma. In college, “TullyandKate” pledge the same sorority and major in communications. Tully has a life goal for them both: They will become network TV anchorwomen. Tully lands an internship at KCPO-TV in Seattle and finagles a producing job for Kate. Kate no longer wishes to follow Tully into broadcasting and is more drawn to fiction writing, but she hesitates to tell her overbearing friend. Meanwhile a love triangle blooms at KCPO: Hard-bitten, irresistibly handsome, former war correspondent Johnny is clearly smitten with Tully. Expecting rejection, Kate keeps her infatuation with Johnny secret. When Tully lands a reporting job with a Today-like show, her career shifts into hyperdrive. Johnny and Kate had started an affair once Tully moved to Manhattan, and when Kate gets pregnant with daughter Marah, they marry. Kate is content as a stay-at-home mom, but frets about being Johnny’s second choice and about her unrealized writing ambitions. Tully becomes Seattle’s answer to Oprah. She hires Johnny, which spells riches for him and Kate. But Kate’s buttons are fully depressed by pitched battles over slutwear and curfews with teenaged Marah, who idolizes her godmother Tully. In an improbable twist, Tully invites Kate and Marah to resolve their differences on her show, only to blindside Kate by accusing her, on live TV, of overprotecting Marah. The BFFs are sundered. Tully’s latest attempt to salvage Cloud fails: The incorrigible, now geriatric hippie absconds once more. Just as Kate develops a spine, she’s given some devastating news. Will the friends reconcile before it’s too late?
Dated sermonizing on career versus motherhood, and conflict driven by characters’ willed helplessness, sap this tale of poignancy.Pub Date: Feb. 1, 2008
ISBN: 978-0-312-36408-3
Page Count: 496
Publisher: St. Martin's
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 1, 2007
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