Touches of the charm, the pointed observations, the fine control of color, tone, mood, character, and milieu that mark Freed...
It’s still Freed, but a thinned quality causes events in her South African lives this time seemingly just to happen, not accumulating the dimension or history-nuanced flavor that distinguished The Mirror (1997) and The Bungalow (1992).
Thea’s glamorous and imperious mother Nalia is an opera singer and Holocaust survivor—and a controlling figure who keeps her grand house up on a hill always chained and padlocked, peremptorily gives orders to her housekeeper, and almost tyrannically guards her 17-year-old daughter and only child Thea not only from “common rubbish” but from Thea’s very own father, a cynical, unscrupulous, very rich womanizer and man of the world who has never been married to Nalia and certainly doesn’t live with her. But young Thea, however passionately she may love her famous and eccentric mother, also has pulsing deeps of her own—and, when her father sends his middle-aged Syrian friend Naim for her, she secretly “allows” herself, as it were, to be spirited away, put to sea on Naim’s yacht, then to be married to him and ensconced as his wife, albeit more like a prisoner or sexual slave, in his vast, palatial house on an unnamed island. From this point on, Thea’s weird life in the imprisoningly gothic world of the perverse though gentle Naim (she’s his because of a bet made between him and Thea’s father) is described in alternation with the slow decline of Nalia, who struggles with her equally overwhelming senses of outrage and despair at the loss of Thea—and continues to see Katzenbogen, her lover, psychiatrist, and then something more, as readers will discover, though without the snap or twist of a surprise that will really mean much when it comes.
Touches of the charm, the pointed observations, the fine control of color, tone, mood, character, and milieu that mark Freed at her best—all borne poorly by a vehicle that tries for more significance than it has.Pub Date: Feb. 12, 2002
ISBN: 0-316-66633-5
Page Count: 224
Publisher: Little, Brown
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 1, 2001
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
This large, stately, and intensely powerful new novel by the author of Terms of Endearment and The Last Picture Show is constructed around a cattle drive—an epic journey from dry, hard-drinking south Texas, where a band of retired Texas Rangers has been living idly, to the last outpost and the last days of the old, unsettled West in rough Montana. The time is the 1880s. The characters are larger than life and shimmer: Captain Woodrow Call, who leads the drive, is the American type of an unrelentingly righteous man whose values are puritanical and pioneering and whose orders, which his men inevitably follow, lead, toward the end, to their deaths; talkative Gus McCrae, Call's best friend, learned, lenient, almost magically skilled in a crisis, who is one of those who dies; Newt, the unacknowledged 17-year-old son of Captain Call's one period of self-indulgence and the inheritor of what will become a new and kinder West; and whores, drivers, misplaced sheriffs and scattered settlers, all of whom are drawn sharply, engagingly, movingly. As the rag-tag band drives the cattle 3,000 miles northward, only Call fails to learn that his quest to conquer more new territories in the West is futile—it's a quest that perishes as men are killed by natural menaces that soon will be tamed and by half-starved renegades who soon will die at the hands of those less heroic than themselves. McMurtry shows that it is a quest misplaced in history, in a landscape that is bare of buffalo but still mythic; and it is only one of McMurtry's major accomplishments that he does it without forfeiting a grain of the characters' sympathetic power or of the book's considerable suspense. This is a masterly novel. It will appeal to all lovers of fiction of the first order.
Pub Date: June 1, 1985
ISBN: 068487122X
Page Count: 872
Publisher: Simon & Schuster
Review Posted Online: Sept. 30, 2011
Kirkus Reviews Issue: May 15, 1985
IN THE NEWS
SEEN & HEARD
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