Evocations of contemporary urban life on the margins—in a first US publication from Turkish novelist Tekin. Like the Garbage Hills of her setting, Tekin's story contains within itself layers of meaning and action: the tales are based on an actual fact of modern Turkish cities but also offer a wry and sympathetic account of life in marginal communities, as well as a quiet but insistent indictment of the callous manner in which such people are exploited. Flocking to the city in search of jobs, Tekin's poor and unskilled set up homes on the hills where the city's garbage is dumped. They build huts with whatever castoffs they can find; then one snowy night their first flimsy roofs of cloth and paper are torn away by the wind, and babies in cradles are dumped hundreds of yards away—an event that, like so much of what happens here, immediately gives rise to song and legend. Other disasters follow, as factories move in and pollute the water and air, and as strikes divide the community. Meanwhile, there are characters like feisty Fidan; Crazy Gonul, acknowledged as the group's first whore; ``Liverman,'' a storyteller by night and a seller of liver by day; and blind Gullu Baba, who makes predictions about the future of Flower Hill, the new and deeply ironic name for the settlement. Rumors of ``Anarchists,'' the power of the polluted blue water, and the strange, sinister factory a Mr. Izak establishes abound. Life seems to improve as the huts become more permanent and the women find work in the factories, but new squatters are moving in, establishing seedy nightclubs, and just- fired workers threaten violence—a reminder that there can be no happy ending for Garbage Hills, or indeed anywhere else. By using traditional storytelling techniques, Tekin seamlessly marries the timelessness of marginal lives with their contemporary manifestation. An accomplished debut.
Pub Date: Sept. 1, 1992
ISBN: 0-7145-2944-3
Page Count: 176
Publisher: Marion Boyars
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1992
A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.
Pub Date: July 11, 1960
ISBN: 0060935464
Page Count: 323
Publisher: Lippincott
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: July 1, 1960
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
Soft-focus story moves right along with few surprises. This time around, Hannah avoids the soap-opera complications of her...
Another middle-aged mom in a muddle.
After years of false starts and big hopes, Elizabeth’s ruggedly handsome husband Jack, a former football star, just landed a spot as a sportscaster on national news. He still loves her, even though much younger women are giving him come-hither looks. Heck, he doesn’t want to betray the love of his life after she helped him kick drugs and stuck by him even when he was a struggling has-been. And won’t it seem hypocritical if he fools around with his sexy assistant while he does in-depth reporting on a rape case involving a famous basketball center? Well, he fools around anyway. Elizabeth, nicknamed Birdie, knows nothing of this, but she withdraws from Jack when her hard-drinking, salt-of-the-earth father has a stroke and dies. Now no one will call her “sugar beet” ever again. Time to return home to Tennessee and contend with Anita, the sort-of-evil stepmother so trashy she wears pink puffy slippers all day long. Naturally, it turns out that Anita actually has a heart of gold and knows a few things about Birdie’s dead mother that were hushed up for years. Mom was an artist, just like Birdie, and an old scandal comes to light as Anita unrolls a vibrant canvas that portrays her secret lover. Perhaps, Birdie muses, her mother died of heartbreak, never having followed her true love or developed her talent. Has she, too, compromised everything she holds dear? Hoping to find out, Birdie joins a support group that promises to reconnect confused women with their passion. She and Jack separate, prompting a how-dare-you fit from their grown daughters. Will Birdie fly her empty nest? Will she go back to college for a degree in art? Will her brooding watercolors ever sell?
Soft-focus story moves right along with few surprises. This time around, Hannah avoids the soap-opera complications of her previous tales (Summer Island, 2001, etc.).Pub Date: July 1, 2002
ISBN: 0-345-45071-X
Page Count: 352
Publisher: Ballantine
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 15, 2002
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