A confusingly late fictional jab at the George W. Bush administration’s war on terror.

AMERICA AT WAR!

A DARK PARODY OF WAR, AN AMERICAN PRESIDENT, AND THE FINER SIDE OF JIHAD

Debut author Coleman imagines an ill-equipped president starting an ill-advised war in this satirical political novel.

In this story’s version of America, the White House is occupied by a blue-blooded former governor of Texas who may sound familiar: “James William Weed (‘Jim W.’ to most) was the likable sort—a good-ol’-boy with a kind heart. In fact, Jim W. pretty much liked…everybody!” When Los Angeles is destroyed by a nuclear blast, however, the country needs leadership to counter the terrorist threat. Looking around for someone to bomb in response, Weed decides on the Democratic Arab People’s Republic of Central Asia. The evidence of their involvement in the attack is tenuous, at best, but the president knows that the American people need an enemy. With the help of his advisers, including National Security Adviser Margarita Spice, Secretary of State Roland Howell, and CIA Director Charles Bennett, Weed leads the United States in a new “War Against Terror” that will affect the lives of both soldiers and citizens. As he juggles domestic scandals and the competing interests of other world powers—as well as the possibility that the terrorists were assisted by someone within his own White House—he learns that the business of governing isn’t quite as easy as he thought it would be. Coleman writes in dense, knotty, and energetic prose filled with asides and emphatic flourishes: “This was a cataclysmic arbitrary genocide that they were all witnessing—all of it occurring within a matter of seconds….It would most certainly make Hiroshima look like a small blip in the lexicon of thermonuclear dynamics!” However, as a satirical work, it’s not all that funny despite its cartoonish characters. Curiously, both the 9/11 attacks and the George W. Bush administration exist within the fictional universe of the novel (Weed is President Barack Obama’s successor), which blunts Coleman’s critique. Mostly, though, the work is undermined by the far greater urgency of the current political dysfunction in Washington. It wouldn’t have made for particularly thoughtful satire in 2007—but in 2017, it’s simply irrelevant.

A confusingly late fictional jab at the George W. Bush administration’s war on terror.

Pub Date: July 25, 2017

ISBN: 978-1-5175-0186-0

Page Count: 262

Publisher: CreateSpace

Review Posted Online: Oct. 28, 2017

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ONE DAY IN THE LIFE OF IVAN DENISOVICH

While a few weeks ago it seemed as if Praeger would have a two month lead over Dutton in their presentation of this Soviet best seller, both the "authorized" edition (Dutton's) and the "unauthorized" (Praeger's) will appear almost simultaneously. There has been considerable advance attention on what appears to be as much of a publishing cause celebre here as the original appearance of the book in Russia. Without entering into the scrimmage, or dismissing it as a plague on both your houses, we will limit ourselves to a few facts. Royalties from the "unauthorized" edition will go to the International Rescue Committee; Dutton with their contracted edition is adhering to copyright conventions. The Praeger edition has two translators and one of them is the translator of Doctor Zhivago Dutton's translator, Ralph Parker, has been stigmatized by Praeger as "an apologist for the Soviet regime". To the untutored eye, the Dutton translation seems a little more literary, the Praeger perhaps closer to the rather primitive style of the original. The book itself is an account of one day in the three thousand six hundred and fifty three days of the sentence to be served by a carpenter, Ivan Denisovich Shukhov. (Solzhenitsyn was a political prisoner.) From the unrelenting cold without, to the conditions within, from the bathhouse to the latrine to the cells where survival for more than two weeks is impossible, this records the hopeless facts of existence as faced by thousands who went on "living like this, with your eyes on the ground". The Dutton edition has an excellent introduction providing an orientation on the political background to its appearance in Russia by Marvin Kalb. All involved in its publication (translators, introducers, etc.) claim for it great "artistic" values which we cannot share, although there is no question of its importance as a political and human document and as significant and tangible evidence of the de-Stalinization program.

Pub Date: June 15, 1963

ISBN: 0451228146

Page Count: 181

Publisher: Praeger

Review Posted Online: Oct. 5, 2011

Kirkus Reviews Issue: June 15, 1963

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Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the...

FLY AWAY

Hannah’s sequel to Firefly Lane (2008) demonstrates that those who ignore family history are often condemned to repeat it.

When we last left Kate and Tully, the best friends portrayed in Firefly Lane, the friendship was on rocky ground. Now Kate has died of cancer, and Tully, whose once-stellar TV talk show career is in free fall, is wracked with guilt over her failure to be there for Kate until her very last days. Kate’s death has cemented the distrust between her husband, Johnny, and daughter Marah, who expresses her grief by cutting herself and dropping out of college to hang out with goth poet Paxton. Told mostly in flashbacks by Tully, Johnny, Marah and Tully’s long-estranged mother, Dorothy, aka Cloud, the story piles up disasters like the derailment of a high-speed train. Increasingly addicted to prescription sedatives and alcohol, Tully crashes her car and now hovers near death, attended by Kate’s spirit, as the other characters gather to see what their shortsightedness has wrought. We learn that Tully had tried to parent Marah after her father no longer could. Her hard-drinking decline was triggered by Johnny’s anger at her for keeping Marah and Paxton’s liaison secret. Johnny realizes that he only exacerbated Marah’s depression by uprooting the family from their Seattle home. Unexpectedly, Cloud, who rebuffed Tully’s every attempt to reconcile, also appears at her daughter’s bedside. Sixty-nine years old and finally sober, Cloud details for the first time the abusive childhood, complete with commitments to mental hospitals and electroshock treatments, that led to her life as a junkie lowlife and punching bag for trailer-trash men. Although powerful, Cloud’s largely peripheral story deflects focus away from the main conflict, as if Hannah was loath to tackle the intractable thicket in which she mired her main characters.

Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the pages turning even as readers begin to resent being drawn into this masochistic morass.

Pub Date: April 23, 2013

ISBN: 978-0-312-57721-6

Page Count: 416

Publisher: St. Martin's

Review Posted Online: Feb. 18, 2013

Kirkus Reviews Issue: March 1, 2013

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