Behind the Scenes at the Museum proved Atkinson can be playful and probing when she chooses. Fans of this talented writer...
The author of Whitbread Award–winner Behind the Scenes at the Museum (1996) indulges in even more of the postmodern game-playing that disrupted Human Croquet (1997).
The year is 1972. Twenty-one-year-old Euphemia Stuart-Murray and her mother, Nora, are camped out at the crumbling family home on a remote Scottish island. “We must get on, we must tell our tales,” says Nora, and Effie begins with details of her adventures in graduate school just a month earlier at Dundee University. She’s living with Bob, a fellow student more interested in watching Star Trek, smoking dope, and listening to Led Zeppelin than attending classes. Effie’s not doing much better: she owes papers to all her professors and can barely muster up the energy to attend her tutorial, led by pompous Archie McCue, who spouts academic gibberish to his indifferent tutees. Interspersed with Effie’s narration are snatches from the murder mystery she’s writing for another class; from Archie’s endless experimental novel, The Expanding Prism of J; from the heavy-breathing romance his wife is penning; and from other students’ work, including a Tolkien-like fantasy and a Beckettesque nihilistic drama. All of these highlight Atkinson’s wicked wit without much advancing the plot—not that it matters, since the storyline is a slapdash affair involving various lost dogs, a ratty private eye, and lots of humor at the expense of self-important ’70s radicalism and perennial grad-student aimlessness. Nora’s story, parceled out reluctantly at Effie’s urging, concerns her daughter’s mysterious origins; the final revelations about both women’s parentage will not surprise anyone who’s been paying attention to the heavy foreshadowing. Atkinson’s jokes are funny, her characters lively (if cartoonish), but her scattershot approach to storytelling wears thin long before the end.
Behind the Scenes at the Museum proved Atkinson can be playful and probing when she chooses. Fans of this talented writer can only hope that next time out she’ll concentrate more on emotional substance, less on narrative tricks.Pub Date: June 1, 2000
ISBN: 0-312-20324-1
Page Count: 346
Publisher: Picador
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 2000
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
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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