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A BRIDGE BETWEEN US

With this fluid debut novel, Shigekuni raises the emotional and artistic stakes in the burgeoning genre of the multigenerational ethnic saga. In an elegant touch, protagonist Nomi notes that the Japanese character for gossip resembles a drawing of her mother, Tomoe, her great-grandmother Reiko, and her grandmother Rio sitting close together under one roof; indeed all of them initially live together in one house in San Francisco. The family trees provided at the outset are necessary here: Although the author successfully weaves together the stories of several generations of Japanese-American women, she sometimes has trouble making clear who is related to whom. Each woman recounts her life story in individual chapters, but the novel eventually narrows down to follow only Nomi, who is saving money to make a trip to Japan in fulfillment of a dream she had about promising to meet a man there. The shift works, but the hyper-sexual Nomi—men are inexplicably drawn to her, including her sister's boyfriend—is the least interesting of the characters here (her blankness, presumably, indicates how troubled she is), and her frank letters to her grandmother seem highly improbable. Nomi's lonely time in Japan is described with appropriate grit and sadness, however, and the pace picks up towards the close of the book as the narrators' voices begin to alternate more frequently. The author also has skillfully studded her tale with events that echo through the generations. Comparisons to Amy Tan's Joy Luck Club are inevitable, but Shigekuni's vision is darker and often more complex. Sometimes she seems to be pursuing the emotional underbelly in order to create drama, rather than having it rise organically from the story, but she always writes with great style- -if the novel occasionally overheats, it's not so often as to be inexcusable. Problematic in parts, but intriguing. (Author tour)

Pub Date: March 8, 1995

ISBN: 0-385-47678-7

Page Count: 256

Publisher: Anchor

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Dec. 15, 1994

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MAGIC HOUR

Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.

Sisters work together to solve a child-abandonment case.

Ellie and Julia Cates have never been close. Julia is shy and brainy; Ellie gets by on charm and looks. Their differences must be tossed aside when a traumatized young girl wanders in from the forest into their hometown in Washington. The sisters’ professional skills are put to the test. Julia is a world-renowned child psychologist who has lost her edge. She is reeling from a case that went publicly sour. Though she was cleared of all wrongdoing, Julia’s name was tarnished, forcing her to shutter her Beverly Hills practice. Ellie Barton is the local police chief in Rain Valley, who’s never faced a tougher case. This is her chance to prove she is more than just a fading homecoming queen, but a scarcity of clues and a reluctant victim make locating the girl’s parents nearly impossible. Ellie places an SOS call to her sister; she needs an expert to rehabilitate this wild-child who has been living outside of civilization for years. Confronted with her professional demons, Julia once again has the opportunity to display her talents and salvage her reputation. Hannah (The Things We Do for Love, 2004, etc.) is at her best when writing from the girl’s perspective. The feral wolf-child keeps the reader interested long after the other, transparent characters have grown tiresome. Hannah’s torturously over-written romance passages are stale, but there are surprises in store as the sisters set about unearthing Alice’s past and creating a home for her.

Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.

Pub Date: March 1, 2006

ISBN: 0-345-46752-3

Page Count: 400

Publisher: Ballantine

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: Dec. 1, 2005

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THE CATCHER IN THE RYE

A strict report, worthy of sympathy.

A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.

"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….

A strict report, worthy of sympathy.

Pub Date: June 15, 1951

ISBN: 0316769177

Page Count: -

Publisher: Little, Brown

Review Posted Online: Nov. 2, 2011

Kirkus Reviews Issue: June 15, 1951

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