Despite its flaws, Cronin’s novel ultimately avoids the genre’s worst sin—heavy-handedness.

ME AGAIN

In Cronin’s novel, a man emerges from a coma six years after a massive stroke only to find he’s changed as much as the world has.

Jonathan Hooper’s doctors and family call his sudden recovery a miracle, but Jonathan himself isn’t so sure. After six years spent in a coma, he has a long road to actual recovery, and even then it’s unlikely that he’ll ever remember who he used to be. His sole source of comfort is the beautiful Rebecca Chase, a fellow stroke victim who has undergone a dramatic personality shift and, like Jonathan, is confronted with the fact that she may never be the person she once was. But the more Jonathan discovers about his past as an emotionally distant, dishonest businessman, the more he wonders if his amnesia may actually be a blessing. Cronin’s debut is an engaging read, utilizing an affable tone and ample humor to temper subject matter that could easily fall into melodrama. The novel shines when navigating the complex interpersonal relationships Jonathan has been thrown back into, as he gets to know not just the family he’s unable to remember, but also the man he used to be. The conflict in gathering this information comes from one of the most relatable, frustrating aspects of human interaction—the inclination to avoid emotional harm and confrontation at all costs. Cronin displays an impressive understanding of conversational subtext, and, at its best, the novel’s dialogue works on many levels at once without coming across as obtuse. This isn’t always consistent, though, with a lot of repetition (particularly some of the oft-repeated jokes) and transparent exposition making some exchanges feel less refined. Everything ties up a little too neatly at the end, and Jonathan never really faces any repercussions for his pre-coma sins, but it’s the little triumphs along way—Jonathan’s rebirth and personal healing—that feel like the novel’s true resolution.

Despite its flaws, Cronin’s novel ultimately avoids the genre’s worst sin—heavy-handedness.

Pub Date: Aug. 17, 2011

ISBN: 978-1432825034

Page Count: 321

Publisher: Five Star

Review Posted Online: Oct. 10, 2011

Kirkus Reviews Issue: Nov. 1, 2011

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ONE DAY IN THE LIFE OF IVAN DENISOVICH

While a few weeks ago it seemed as if Praeger would have a two month lead over Dutton in their presentation of this Soviet best seller, both the "authorized" edition (Dutton's) and the "unauthorized" (Praeger's) will appear almost simultaneously. There has been considerable advance attention on what appears to be as much of a publishing cause celebre here as the original appearance of the book in Russia. Without entering into the scrimmage, or dismissing it as a plague on both your houses, we will limit ourselves to a few facts. Royalties from the "unauthorized" edition will go to the International Rescue Committee; Dutton with their contracted edition is adhering to copyright conventions. The Praeger edition has two translators and one of them is the translator of Doctor Zhivago Dutton's translator, Ralph Parker, has been stigmatized by Praeger as "an apologist for the Soviet regime". To the untutored eye, the Dutton translation seems a little more literary, the Praeger perhaps closer to the rather primitive style of the original. The book itself is an account of one day in the three thousand six hundred and fifty three days of the sentence to be served by a carpenter, Ivan Denisovich Shukhov. (Solzhenitsyn was a political prisoner.) From the unrelenting cold without, to the conditions within, from the bathhouse to the latrine to the cells where survival for more than two weeks is impossible, this records the hopeless facts of existence as faced by thousands who went on "living like this, with your eyes on the ground". The Dutton edition has an excellent introduction providing an orientation on the political background to its appearance in Russia by Marvin Kalb. All involved in its publication (translators, introducers, etc.) claim for it great "artistic" values which we cannot share, although there is no question of its importance as a political and human document and as significant and tangible evidence of the de-Stalinization program.

Pub Date: June 15, 1963

ISBN: 0451228146

Page Count: 181

Publisher: Praeger

Review Posted Online: Oct. 5, 2011

Kirkus Reviews Issue: June 15, 1963

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Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the...

FLY AWAY

Hannah’s sequel to Firefly Lane (2008) demonstrates that those who ignore family history are often condemned to repeat it.

When we last left Kate and Tully, the best friends portrayed in Firefly Lane, the friendship was on rocky ground. Now Kate has died of cancer, and Tully, whose once-stellar TV talk show career is in free fall, is wracked with guilt over her failure to be there for Kate until her very last days. Kate’s death has cemented the distrust between her husband, Johnny, and daughter Marah, who expresses her grief by cutting herself and dropping out of college to hang out with goth poet Paxton. Told mostly in flashbacks by Tully, Johnny, Marah and Tully’s long-estranged mother, Dorothy, aka Cloud, the story piles up disasters like the derailment of a high-speed train. Increasingly addicted to prescription sedatives and alcohol, Tully crashes her car and now hovers near death, attended by Kate’s spirit, as the other characters gather to see what their shortsightedness has wrought. We learn that Tully had tried to parent Marah after her father no longer could. Her hard-drinking decline was triggered by Johnny’s anger at her for keeping Marah and Paxton’s liaison secret. Johnny realizes that he only exacerbated Marah’s depression by uprooting the family from their Seattle home. Unexpectedly, Cloud, who rebuffed Tully’s every attempt to reconcile, also appears at her daughter’s bedside. Sixty-nine years old and finally sober, Cloud details for the first time the abusive childhood, complete with commitments to mental hospitals and electroshock treatments, that led to her life as a junkie lowlife and punching bag for trailer-trash men. Although powerful, Cloud’s largely peripheral story deflects focus away from the main conflict, as if Hannah was loath to tackle the intractable thicket in which she mired her main characters.

Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the pages turning even as readers begin to resent being drawn into this masochistic morass.

Pub Date: April 23, 2013

ISBN: 978-0-312-57721-6

Page Count: 416

Publisher: St. Martin's

Review Posted Online: Feb. 18, 2013

Kirkus Reviews Issue: March 1, 2013

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