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MISS JANE

THE LOST YEARS

A sharp and tightly crafted tale of campus exploitation.

Awards & Accolades

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A young college student begins an affair with her history professor in this novel.

Why is a male teaching women’s history?” That’s what Miss Jane, a “Cracker hick/chick” away at a state university on a scholarship, would like to know when she sits down with her 30 female classmates (and three female teaching assistants) in Prof P’s seminar classroom. Her precociousness does not escape the professor’s notice, as he quickly moves Jane from the study group overseen by TA Alice to his own. Prof P is a popular, hip teacher, the kind who holds his classes outside and tosses his students’ notebooks across the lawn, haranguing them not to scribble but to think. He is a divorced father on the cusp of middle age, and Jane is the ninth of his “college gal projects,” easy conquests due to the power imbalance between teacher and pupil. Jane can’t help but be flattered by the attention Prof P heaps on her. Anyway, he’s easier to talk to than hookup partner and fellow student Seth B. Despite the warnings of her ambitious roommate, Cinda G, Jane allows Prof P to seduce her before finals. She feels deeply confused about the affair while home for Christmas break but then accepts Prof P’s offer to move in with him when she returns to school the next semester. As Jane becomes more deeply embroiled in Prof P’s world—his colleagues, children, and the complicit echo chamber of the academy—the situation threatens to upend her education and cause more lasting damage: “With Miss Jane nightly in his bed, Prof P’s mission grows exponentially more ambitious. To subdue a body, one thing; to reprogram a mind, a thing far grander.” Meads’ (In This Season of Rage and Melancholy Such Irrevocable Acts as These, 2016, etc.) prose is playfully postmodern, layered with linguistic tricks and dripping with self-awareness. The narrator is a Greek chorus animated by the righteous indignation that the confused Jane does not yet possess: “Thematically we will stay the course. Power politics. Sexual politics. Age versus youth. Authority’s manipulation of head-to-pubes-to-toe confusion. The world’s themes do not change, why should they here?” The novel is short, but nearly every sentence is imbued with a wry, astute, or lyrical comment. While at first the whole thing feels highly satirical, the characters are slowly revealed to possess unexpected complexity, particularly Jane and her fellow students. Even Prof P, who is not at all sympathetic, is frighteningly believable. Meads endeavors not simply to show how such an affair comes about, but also how much damage it can do to the younger party. She provides a response to the many campus novels over the years written from the (usually permissive) perspective of the lecherous professor. Though the story takes place in 1969—and many of the barbs, such as Prof P’s Greek fisherman’s cap and turquoise necklace, are aimed specifically at that era—the book feels incredibly relevant to today’s reckoning with powerful men’s sexual abuse of the women around them.

A sharp and tightly crafted tale of campus exploitation.

Pub Date: May 20, 2018

ISBN: 978-1-60489-201-7

Page Count: 203

Publisher: Livingston Press

Review Posted Online: March 29, 2018

Kirkus Reviews Issue: May 15, 2018

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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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