Reiss's first novel, Time Windows (1991), was a well-wrought time fantasy involving a mother thwarted of self-realization, a pattern later revisited on occupants of the same house. The theme here is similar: two sisters are still trapped by the acrimony generated by the death of the man they both loved 20 years ago. When Hanny arrives to summer in Philadelphia with her children—Tom, 15, and Beth, 16, an aspiring artist who provides the point of view—they find gentle old Grandad, who still favors his younger daughter; vitriolic Grandmother, who's sure that Hanny and her kids can do nothing right; and alcoholic Aunt Iris, who's been embittered ever since her fiancÇ Clifton died in a fall during a stair-top tussle after Iris found him in bed with her teenage sister. Each sister has always believed the other pushed Clifton; Tom and Beth are united in their search for the truth. Without Time Windows' fantasy element, this plot founders on its lack of motivation. The characters are too simplistic to be believable; an extraordinary change of heart from all three older women after Grandad's transparently untrue confession (unsurprisingly, nobody pushed Clifton) is only the last unlikely straw. Meanwhile, promising themes like the role of art in various lives, or Beth's parallel infatuation with an older man, just fizzle out. Disappointing, but acceptable as popular fiction. (Fiction. 12-16)
Pub Date: April 1, 1992
ISBN: 0-15-231040-1
Page Count: 277
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 15, 1992
At the end of the term, a new student who is black and Vietnamese finds a morsel of hope that she too will find a place in...
This is almost like a play for 18 voices, as Grimes (Stepping Out with Grandma Mac, not reviewed, etc.) moves her narration among a group of high school students in the Bronx.
The English teacher, Mr. Ward, accepts a set of poems from Wesley, his response to a month of reading poetry from the Harlem Renaissance. Soon there’s an open-mike poetry reading, sponsored by Mr. Ward, every month, and then later, every week. The chapters in the students’ voices alternate with the poems read by that student, defiant, shy, terrified. All of them, black, Latino, white, male, and female, talk about the unease and alienation endemic to their ages, and they do it in fresh and appealing voices. Among them: Janelle, who is tired of being called fat; Leslie, who finds friendship in another who has lost her mom; Diondra, who hides her art from her father; Tyrone, who has faith in words and in his “moms”; Devon, whose love for books and jazz gets jeers. Beyond those capsules are rich and complex teens, and their tentative reaching out to each other increases as through the poems they also find more of themselves. Steve writes: “But hey! Joy / is not a crime, though / some people / make it seem so.”
At the end of the term, a new student who is black and Vietnamese finds a morsel of hope that she too will find a place in the poetry. (Fiction. 12-15)Pub Date: Jan. 1, 2001
ISBN: 0-8037-2569-8
Page Count: 176
Publisher: Dial Books
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 1, 2001
Despite some missteps, this will appeal to readers who enjoy a fresh and realistic teen voice.
A teenage, not-so-lonely loner endures the wilds of high school in Austin, Texas.
Norris Kaplan, the protagonist of Philippe’s debut novel, is a hypersweaty, uber-snarky black, Haitian, French-Canadian pushing to survive life in his new school. His professor mom’s new tenure-track job transplants Norris mid–school year, and his biting wit and sarcasm are exposed through his cataloging of his new world in a field guide–style burn book. He’s greeted in his new life by an assortment of acquaintances, Liam, who is white and struggling with depression; Maddie, a self-sacrificing white cheerleader with a heart of gold; and Aarti, his Indian-American love interest who offers connection. Norris’ ego, fueled by his insecurities, often gets in the way of meaningful character development. The scenes showcasing his emotional growth are too brief and, despite foreshadowing, the climax falls flat because he still gets incredible personal access to people he’s hurt. A scene where Norris is confronted by his mother for getting drunk and belligerent with a white cop is diluted by his refusal or inability to grasp the severity of the situation and the resultant minor consequences. The humor is spot-on, as is the representation of the black diaspora; the opportunity for broader conversations about other topics is there, however, the uneven buildup of detailed, meaningful exchanges and the glibness of Norris’ voice detract.
Despite some missteps, this will appeal to readers who enjoy a fresh and realistic teen voice. (Fiction. 13-16)Pub Date: Jan. 8, 2019
ISBN: 978-0-06-282411-0
Page Count: 384
Publisher: Balzer + Bray/HarperCollins
Review Posted Online: Oct. 14, 2018
Kirkus Reviews Issue: Nov. 1, 2018
BOOK REVIEW
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