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SPIDERS KILL THEIR YOUNG

A FEAST OF TEARS

A psychological tale that’s riveting, perceptive, and accessible.

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A doctor struggles to understand a woman who allegedly murdered her own child in Lev’s (A Feast of Tears, 2010) thriller.

Dr. Ephraim Ligget prefers being left alone as he works in the psychiatric treatment ward of the Western Washington State Hospital. Half of his face is scarred due to a fire years ago that killed his parents, and his apparent survivor’s guilt has led to him to create another, secret personality, Dr. Hamburger, “the angry part of Ligget’s soul,” who occasionally takes over. Ligget is handling a case for the admission ward of the Forensic Unit, which treats the criminally insane, so Jennifer Stanley becomes his newest patient. Cops arrested her after her son, Edward, claimed that she tried to kill him; he further stated that he witnessed her murdering his younger brother, Robert, whose body police uncover. Jennifer’s lawyer is hoping for an insanity defense, but Ligget is merely assessing her competency to stand trial, which isn’t necessarily related to her state of mind during the supposed crime. Still, the psychologist has trouble completing his report. Tests indicate that Jennifer has a high IQ, so she may be feigning some behavior, such as her disbelief that her son is dead. But Ligget ultimately concludes that she’s not manipulating him and that she’s suffering from PTSD from an unidentified trauma. Although he does eventually rule on whether she’s competent for trial, he remains obsessed with the question of her sanity and looks into her personal life: “His life had been reduced to this—a single case and a single person.” Has Jennifer merely deceived him—or is she actually in need of help? Lev’s novel effectively establishes its hospital setting, where much of the story takes place. One scene, for example, opens with Mrs. Densby and Mrs. Brown at a tea party, anticipating a waiter bringing them tea; it turns out that the two ladies are patients, and the “waiter” who ignores them is a staff member. The hospital is populated by a curious mix of characters, including Frank, a patient experiencing tactile hallucinations who’s been seen by multiple doctors. But although the patients are shown to be a burden at times, the staff members cause just as many problems by skimping on job duties or by too easily prescribing antipsychotic medications. Jennifer is, appropriately, one of the more striking characters—an enigma who understandably baffles Ligget; her son Edward’s perspective reveals specifics about Robert’s murder but provides readers with no more insight into Jennifer’s mind than the doctor has. Nevertheless, Ligget himself, with his alternate personality, is engaging and multifaceted. The author, a practicing psychologist, writes in a style that’s intelligent but always intelligible, even when employing psychiatric jargon, as in his description of Ligget’s initial assessment of Jennifer: “Thinking is realistic and goal directed, speech is relevant, no evidence of hallucinations or delusions, possible dissociative symptoms.” Ligget’s analysis of Jennifer becomes an ongoing mystery, and Lev opts for a pragmatic ending in which nothing’s black and white.

A psychological tale that’s riveting, perceptive, and accessible.

Pub Date: Oct. 3, 2017

ISBN: 978-1-974315-16-1

Page Count: 276

Publisher: CreateSpace

Review Posted Online: Nov. 24, 2017

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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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