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Tales of Jonathan

A looping tale within a tale about a boy, a girl, and the search for love in a world where words are meaningless.

As Nicol invites readers into dreams and memories cobbled into a Möbius strip, there’s little sense of what’s real and what’s not. The first of seven segments suggests that the novel will concern schoolboy Paul Garner and the enchanting Bethany Dean, who tragically dies young, while they explore love. They write and perform a school play, but as other segments are introduced, the narrative shifts and the play vanishes, then reappears, confusing readers about which part is “real” and which part is just something the “author” (a character in the story) wrote. First, the narrator, Paul, turns into Daniel Bikker, a gravedigger; then, Daniel becomes Jonathan Prack, Bethany’s brother. Meanwhile, Bethany has become Megan, who sometimes turns into Tyamka, whom Jonathan calls a sea angel, protected by her dog, Bizra. Other characters go through similar shifts. Readers are told that progress “is a word with meaning only for its users.” Maybe so, but as a literary technique, that lack of clear progress can make for tedious reading. The sense of disconnect this mannered style cultivates might generate indifference to the characters’ fates. Characters wander through moors. They explore grottoes. They love the ocean. They enter houses and sit. They are kind to each other. Still, a few recurring items and events—a visit, a walk, a room, drawing, gardens, blue fish, tea, etc.—tie the book together in different scenes with similar dialogue creating similar situations. Repeated sentences rearrange the hero’s attempts to revisit reality—he may be psychotic, in a coma or dreaming—and sometimes the “author” appears, occasionally accompanied by bureaucrats, doctors or other authority figures. Lyrical prose—“I have doubts of resolution and fears of being lost in times and places I do not understand; they loom before me, obscuring my path and threatening diversion in directions I do not trust”—provides a bit of direction, but that might not be enough for some readers. Elegant but bewildering.

 

Pub Date: Feb. 16, 2007

ISBN: 978-1425962913

Page Count: 384

Publisher: AuthorHouse

Review Posted Online: Feb. 28, 2013

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THE CATCHER IN THE RYE

A strict report, worthy of sympathy.

A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.

"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….

A strict report, worthy of sympathy.

Pub Date: June 15, 1951

ISBN: 0316769177

Page Count: -

Publisher: Little, Brown

Review Posted Online: Nov. 2, 2011

Kirkus Reviews Issue: June 15, 1951

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MAGIC HOUR

Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.

Sisters work together to solve a child-abandonment case.

Ellie and Julia Cates have never been close. Julia is shy and brainy; Ellie gets by on charm and looks. Their differences must be tossed aside when a traumatized young girl wanders in from the forest into their hometown in Washington. The sisters’ professional skills are put to the test. Julia is a world-renowned child psychologist who has lost her edge. She is reeling from a case that went publicly sour. Though she was cleared of all wrongdoing, Julia’s name was tarnished, forcing her to shutter her Beverly Hills practice. Ellie Barton is the local police chief in Rain Valley, who’s never faced a tougher case. This is her chance to prove she is more than just a fading homecoming queen, but a scarcity of clues and a reluctant victim make locating the girl’s parents nearly impossible. Ellie places an SOS call to her sister; she needs an expert to rehabilitate this wild-child who has been living outside of civilization for years. Confronted with her professional demons, Julia once again has the opportunity to display her talents and salvage her reputation. Hannah (The Things We Do for Love, 2004, etc.) is at her best when writing from the girl’s perspective. The feral wolf-child keeps the reader interested long after the other, transparent characters have grown tiresome. Hannah’s torturously over-written romance passages are stale, but there are surprises in store as the sisters set about unearthing Alice’s past and creating a home for her.

Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.

Pub Date: March 1, 2006

ISBN: 0-345-46752-3

Page Count: 400

Publisher: Ballantine

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: Dec. 1, 2005

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