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THEN WE CAME TO THE END

The funhouse mirror here reflects the office dynamic at its most petty and profound.

This debut novel about life in a Chicago advertising agency succeeds as both a wickedly incisive satire of office groupthink and a surprisingly moving meditation on mortality and the ties that band.

Though Ferris only briefly invokes Catch-22, he transfers that novel’s absurdist logic, insider’s jargon and indelibly quirky characterizations to the business of brainstorming and creating advertising—or at least pretending to stay busy lest one be considered dispensable. After the breezy pacing of the opening chapters presents the cast as indiscriminately eccentric, the plot deepens and relationships become more complicated, with the individual eccentricities of the characters defining their humanity. During a downturn in business, people keep disappearing, either fired or dead. Fired is worse, especially for those who remain, because the fired often refuse to disappear. These coworkers know each other like no outsider can, yet generally have little idea what the lives of their fellow employees are like outside the cubicle. In fact, the novel rarely ventures beyond the cubicle and the conference room, making Ferris’s ability to sustain narrative momentum all the more impressive. The narrator is an ingenious device, a nameless one who uses the third-person “we” to suggest that he (or she) might be any one of the office group. Yet since most or all within the office show that their perceptions are seriously skewed, the reader is never quite sure how much the narrator can be trusted. There’s a crucial interlude, a chapter in which the “we” disappears, and a character who had seemed more like a caricature to those who work for her reveals her flesh-and-blood complexity and ultimately raises the novel to a higher literary level.

The funhouse mirror here reflects the office dynamic at its most petty and profound.

Pub Date: March 1, 2007

ISBN: 0-316-01638-1

Page Count: 384

Publisher: Little, Brown

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Dec. 15, 2006

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BETWEEN SISTERS

Briskly written soap with down-to-earth types, mostly without the lachrymose contrivances of Hannah’s previous titles...

Sisters in and out of love.

Meghann Dontess is a high-powered matrimonial lawyer in Seattle who prefers sex with strangers to emotional intimacy: a strategy bound to backfire sooner or later, warns her tough-talking shrink. It’s advice Meghann decides to ignore, along with the memories of her difficult childhood, neglectful mother, and younger sister. Though she managed to reunite Claire with Sam Cavenaugh (her father but not Meghann’s) when her mother abandoned both girls long ago, Meghann still feels guilty that her sister’s life doesn’t measure up, at least on her terms. Never married, Claire ekes out a living running a country campground with her dad and is raising her six-year-old daughter on her own. When she falls in love for the first time with an up-and-coming country musician, Meghann is appalled: Bobby Austin is a three-time loser at marriage—how on earth can Claire be so blind? Bobby’s blunt explanation doesn’t exactly satisfy the concerned big sister, who busies herself planning Claire’s dream wedding anyway. And, to relieve the stress, she beds various guys she picks up in bars, including Dr. Joe Wyatt, a neurosurgeon turned homeless drifter after the demise of his beloved wife Diane (whom he euthanized). When Claire’s awful headache turns out to be a kind of brain tumor known among neurologists as a “terminator,” Joe rallies. Turns out that Claire had befriended his wife on her deathbed, and now in turn he must try to save her. Is it too late? Will Meghann find true love at last?

Briskly written soap with down-to-earth types, mostly without the lachrymose contrivances of Hannah’s previous titles (Distant Shores, 2002, etc.). Kudos for skipping the snifflefest this time around.

Pub Date: May 1, 2003

ISBN: 0-345-45073-6

Page Count: 400

Publisher: Ballantine

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: April 1, 2003

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TO KILL A MOCKINGBIRD

A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.

Pub Date: July 11, 1960

ISBN: 0060935464

Page Count: 323

Publisher: Lippincott

Review Posted Online: Oct. 7, 2011

Kirkus Reviews Issue: July 1, 1960

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