Capable of such a telling line as "the bedroom looked like a bedroom in a consoling children's story," Colwin surely will...
Can you make an adult novel out of four pretty, happy, rich, smart, rather sweet, and thoroughly two-dimensional Manhattan characters?
The answer is yes, sort of, if you adopt the knowing, slightly smug comic tone that one finds in New Yorker cartoon captions. Colwin, whose previous fiction (Shine On, Bright and Dangerous Object) juggled stylistic sophistication with women's-magazine sentimentality, here abandons the heart-on-sleeve for the tongue-in-chic, setting off echoes—some engaging, some just coy—of such disparate romance-watchers as Dorothy Parker, Hollywood in the Thirties, and, most disarmingly, P. G. Wodehouse. She alternates between two romances—the happy marriage of Guido and Holly and the pseudo-harrowing courtship of Misty Berkowitz by Vincent Cardworthy (Guido's cousin). These folks have what you'd have to call minor-league problems. Very romantic Guido (who oversees the family arts foundation) has to learn to accept that picture-perfect Holly sometimes needs to go off and be alone; she's afraid of getting too used to everything being so wonderful. Even more romantic Vincent (who is the Board of Planning's expert on garbage) has to cut through language-expert Misty's Jew-among-Gentiles hang-up and her anti-romantic, serf-protective (and rather tedious) snarlings. Through most of the problematic festivities—Misty's jealousy, Holly's pregnancy—it's a pleasurable relief to find the business of contemporary relationships being tossed around so blithely and reaching such cheerful resolutions. And there are a slew of funny lines ("Friendship is not possible between two women one of whom is very well dressed") and near-cartoon supporting players to juice things up. But eventually we don't feel that the theme ("Our trouble is that we don't know how things are supposed to be any more") has been dealt with—or, more important, that we really know any of these ultimately somewhat annoying people.
Capable of such a telling line as "the bedroom looked like a bedroom in a consoling children's story," Colwin surely will produce a story that stays in the mind; this edgy, expert entertainment seems to be trying to leave something behind, but it all rolls merrily right by without a trace.Pub Date: Sept. 26, 1978
ISBN: 0-307-47440-2
Page Count: -
Publisher: Knopf
Review Posted Online: April 30, 2021
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
PERSPECTIVES
A dramatic, vividly detailed reconstruction of a little-known aspect of the Vietnam War.
A young woman’s experience as a nurse in Vietnam casts a deep shadow over her life.
When we learn that the farewell party in the opening scene is for Frances “Frankie” McGrath’s older brother—“a golden boy, a wild child who could make the hardest heart soften”—who is leaving to serve in Vietnam in 1966, we feel pretty certain that poor Finley McGrath is marked for death. Still, it’s a surprise when the fateful doorbell rings less than 20 pages later. His death inspires his sister to enlist as an Army nurse, and this turn of events is just the beginning of a roller coaster of a plot that’s impressive and engrossing if at times a bit formulaic. Hannah renders the experiences of the young women who served in Vietnam in all-encompassing detail. The first half of the book, set in gore-drenched hospital wards, mildewed dorm rooms, and boozy officers’ clubs, is an exciting read, tracking the transformation of virginal, uptight Frankie into a crack surgical nurse and woman of the world. Her tensely platonic romance with a married surgeon ends when his broken, unbreathing body is airlifted out by helicopter; she throws her pent-up passion into a wild affair with a soldier who happens to be her dead brother’s best friend. In the second part of the book, after the war, Frankie seems to experience every possible bad break. A drawback of the story is that none of the secondary characters in her life are fully three-dimensional: Her dismissive, chauvinistic father and tight-lipped, pill-popping mother, her fellow nurses, and her various love interests are more plot devices than people. You’ll wish you could have gone to Vegas and placed a bet on the ending—while it’s against all the odds, you’ll see it coming from a mile away.
A dramatic, vividly detailed reconstruction of a little-known aspect of the Vietnam War.Pub Date: Feb. 6, 2024
ISBN: 9781250178633
Page Count: 480
Publisher: St. Martin's
Review Posted Online: Nov. 4, 2023
Kirkus Reviews Issue: Dec. 1, 2023
PERSPECTIVES
BOOK TO SCREEN
One of the noblest characters in American literature gets a novel worthy of him.
Mark Twain's Adventures of Huckleberry Finn as told from the perspective of a more resourceful and contemplative Jim than the one you remember.
This isn’t the first novel to reimagine Twain’s 1885 masterpiece, but the audacious and prolific Everett dives into the very heart of Twain’s epochal odyssey, shifting the central viewpoint from that of the unschooled, often credulous, but basically good-hearted Huck to the more enigmatic and heroic Jim, the Black slave with whom the boy escapes via raft on the Mississippi River. As in the original, the threat of Jim’s being sold “down the river” and separated from his wife and daughter compels him to run away while figuring out what to do next. He's soon joined by Huck, who has faked his own death to get away from an abusive father, ramping up Jim’s panic. “Huck was supposedly murdered and I’d just run away,” Jim thinks. “Who did I think they would suspect of the heinous crime?” That Jim can, as he puts it, “[do] the math” on his predicament suggests how different Everett’s version is from Twain’s. First and foremost, there's the matter of the Black dialect Twain used to depict the speech of Jim and other Black characters—which, for many contemporary readers, hinders their enjoyment of his novel. In Everett’s telling, the dialect is a put-on, a manner of concealment, and a tactic for survival. “White folks expect us to sound a certain way and it can only help if we don’t disappoint them,” Jim explains. He also discloses that, in violation of custom and law, he learned to read the books in Judge Thatcher’s library, including Voltaire and John Locke, both of whom, in dreams and delirium, Jim finds himself debating about human rights and his own humanity. With and without Huck, Jim undergoes dangerous tribulations and hairbreadth escapes in an antebellum wilderness that’s much grimmer and bloodier than Twain’s. There’s also a revelation toward the end that, however stunning to devoted readers of the original, makes perfect sense.
One of the noblest characters in American literature gets a novel worthy of him.Pub Date: March 19, 2024
ISBN: 9780385550369
Page Count: 320
Publisher: Doubleday
Review Posted Online: Dec. 16, 2023
Kirkus Reviews Issue: Jan. 15, 2024
PERSPECTIVES
PERSPECTIVES
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