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BLACKBERRIES ARE RED WHEN GREEN

A messy, meandering tale of racism and community in civil rights–era Indiana.

A white boy and an elderly black man form an unlikely friendship in this coming-of-age novel.

Adams Creek, Indiana, 1958. Ten-year-old Kurt Baumann and his brother, Kyle, are still hurting from the death of their father, but they find solace in their adventures along the nearby Eel River. “My river bore many faces,” Kurt claims with pride, “often muddy, sometimes filled with tree trunks and limbs after a crackling, marauding thunderstorm, sometimes slick and smooth after a long, deep freeze, and sometimes jolting with bergs thumping on the center bridge abutment following a spring thaw.” It is along the river that Kurt meets Dutch Clemons, a retired Pullman porter who likes to fish the Eel. Dutch’s race makes him an object of fascination for young Kurt. Dutch is the only black person in the otherwise white neighborhood. Dutch helps expand Kurt’s racial awareness, but more than that, he provides a father figure for a boy in need of one: teaching him about trains and music and even reprimanding him for shoplifting. Their friendship continues through the daily happenings and minor tragedies in Adams Creek, but when a girl is found dead in an Eel River fishing hole, Dutch comes under suspicion. Frohreich’s (Guy’s Guide to Domestic Engineering, 2009) smooth prose varies from soft, almost dreamy descriptions of the Indiana setting to more essaylike expositions on various historical events: “George Pullman did not invent the sleeping car but outsmarted and outmaneuvered his competitors. Early on, he built more cars, standardized them, and made favorable deals with the railroad companies to lease his cars and crews.” The novel has a decidedly rosy view of the past, both in its nostalgia for mid-20th-century Indiana and its rather clumsy representation of race. But the book’s primary flaw is that it doesn’t offer much of a story. The author takes frequent chapterlong digressions to discuss various characters’ backstories or historical events, and some crimes at the end feel tacked on rather than an organic outgrowth of the plot. Though the underlying message is admirable, Kurt and Dutch’s friendship never feels as real or cathartic as it is clearly meant to be.

A messy, meandering tale of racism and community in civil rights–era Indiana.

Pub Date: March 13, 2019

ISBN: 978-1-79915-243-9

Page Count: 260

Publisher: Self

Review Posted Online: Nov. 5, 2019

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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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