Predictable tale of a working-class homegirl making good on her mistakes.
Tucker (The Song Reader, 2003) delivers another brisk hard-luck saga for undemanding readers.
Narrator Patty Taylor, single mother of a two-year-old, has a good gig as the lead singer for a talented band traveling the Midwest trying to make a name for itself, even though she’s mostly viewed as a meal ticket while band leader Jonathan aims for the higher world of Art. When Rick, the father of Patty’s baby, gets paroled after three years in jail on drug charges, he comes looking to resume their intense first-love romance. Patty has moved on, or so she says, but she can’t make Rick believe it. Backstory: with little education (though she mentions she got her GED before son Willie was born, “so he’d never have to feel like his mother wasn't good enough”), Patty is plagued by a self-defeating lack of confidence, fed by an alcoholic mother who routinely threw the teenager out of the house, blaming her marital unhappiness on her daughter. Rick filled the emotional vacuum in Patty’s life, and he did take care of her, until his arrogant dalliance in drugs revealed an ugly side to his controlling nature. Second-novelist Tucker earnestly tries to allow Patty to grow as a responsible mother and a person with a mind of her own, but the the story is crippled by its caricatures of meanness in Rick, Mama, and even the band’s oily agent, who threatens to fire Patty one minute and sends her flowers the next. The lightweight, fast-moving prose, describing superficial actions with little introspection, makes this feel like a YA. Even Jonathan, perhaps the only character who regards Patty as more than a “dumb chick,” never grows beyond the stereotypes of a stock character. It’s too bad, because readers will like Patty and wish her author had given her more to think about.
Predictable tale of a working-class homegirl making good on her mistakes.Pub Date: April 1, 2004
ISBN: 0-7434-6446-X
Page Count: 320
Publisher: Downtown Press/Pocket
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2004
Jones beautifully evokes Atlanta in the 1980s while creating gritty, imperfect characters whose pain lingers in the reader’s...
In her third novel set in Atlanta, Jones (The Untelling, 2005, etc.) writes about two African-American half sisters, only one of whom knows that the other exists until their father’s double life starts to unravel.
When James Witherspoon, the owner of a successful limousine service, and Gwendolyn Yarboro have their marriage ceremony in 1969 four months after the birth of their baby Dana, Gwen knows that James already has a wife and an even younger baby. While James, who visits regularly if never often enough, and Gwen, a practical nurse, make sure Dana has every middle-class advantage, Dana grows up aware that her parents’ “marriage” is a secret and that she cannot openly claim her father; James’ devoted stepbrother Raleigh is listed on her birth certificate. Gwen and Dana habitually spy on James’ legitimate wife Laverne and daughter Chaurisse, who live in blissful ignorance of James’s bigamy. By adolescence, Dana, who attends a prestigious magnate high school and wants to attend Mount Holyoke, increasingly resents the plainer, less gifted Chaurisse, whose needs always seem to come first for James. After meeting Chaurisse by accident at a science fair, Dana finds ways for their paths to intersect. When she finally “befriends” Chaurisse, Chaurisse is thrilled that a popular girl likes her enough to visit her at home. Visits happen during hours Dana knows James will not be there. Dana’s adolescent plans, for acceptance as much as revenge, inevitably go awry, but this is less a tragedy than a case of survival and making do. While Dana is at the novel’s center, Jones gives both girls’ points of view, allowing readers to empathize with each of James’s families. Chaurisse may not know about Dana, but she is far from blissful in her ignorance, and her mother Laverne has endured more than her fair share of suffering. James is harder to fathom but also hard to hate.
Jones beautifully evokes Atlanta in the 1980s while creating gritty, imperfect characters whose pain lingers in the reader’s heart.Pub Date: May 24, 2011
ISBN: 978-1-56512-990-0
Page Count: 352
Publisher: Algonquin
Review Posted Online: Feb. 1, 2011
Kirkus Reviews Issue: Feb. 1, 2011
An intricate plot, perfect title, and a harrowing look at the tie that binds.
An absorbing story of a modern marriage framed in Greek mythology.
Groff’s sharply drawn portrait of a marriage begins on a cold Maine beach, with newlyweds “on their knees, now, though the sand was rough and hurt. It didn’t matter. They were reduced to mouths and hands.” This opener ushers in an ambitious, knowing novel besotted with sex—in a kaleidoscope of variety—much more abundant than the commune-dwellers got up to in Groff’s luminous Arcadia(2012). The story centers first on Lancelot “Lotto” Satterwhite, a dashing actor at Vassar, who marries his classmate, flounders, then becomes a famous playwright. Lotto’s name evokes the lottery—and the Fates, as his half of the book is titled. His wife, the imperial and striking Mathilde, takes over the second section, Furies, astir with grief and revenge. The plotting is exquisite, and the sentences hum; Groff writes with a pleasurable, bantering vividness. Her book is smart, albeit with an occasional vibrato of overkill. The author gives this novel a harder edge and darker glow than previous work, echoing Mathilde’s observation, “She was so tired of the old way of telling stories, all those too worn narrative paths, the familiar plot thickets, the fat social novels. She needed something messier, something sharper, something like a bomb going off.” Indeed it is.
An intricate plot, perfect title, and a harrowing look at the tie that binds.Pub Date: Sept. 15, 2015
ISBN: 978-1-59463-447-5
Page Count: 368
Publisher: Riverhead
Review Posted Online: May 5, 2015
Kirkus Reviews Issue: July 15, 2015
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