Horror schlockmeister Clements's fourth outing rises above 1993's Children of the End, again posits a brilliant plot idea, and again slips and slides looking for traction. In the earlier novel, humanoids ran amok with religion, much of it learned from TV commercials and sitcoms, and worshipped Vulcan, the Christ of the monsters. Here, chapters alternate between the California present and the Indiana past of lawyer Jeffry Dittimorechapters that more or less grow shorter as the novel goes along until past and present merge into a fictive present existing only in the collective imagination of the populace of Middlefield, Ind., Jeffry's hometown. When Jeffry has a nervous breakdown in Los Angeles, in part because his adulterous wife divorces him just as she undergoes a sudden conversion to Christianity, his boss says get some rest and Jeffry flies home. At first, the town looks completely revamped, but as the chapters blur, Middlefield past fades into Middlefield present, a black hole from which no bus, plane, or car escapes. Jeffry finds himself fighting for his life among demons reared by his childhood friend Timothy, who cut the throat of another childhood friend, then died, and nowstill a childhas sucked Jeffry into the past/present to play murderous boyhood games with him. Hovering over all is an electrically demonic tree that Jeffry as a teenager burned down but that's been reborn. Jeffry also meets Gail, the tragedy-stricken love of his teenage years whom he tossed aside but now again loves. Alas, Gail's a ghostthough one he can live with in fictive Middlefield if he so chooses, once he has battled Timothy to his second death. When the plot finally takes hold at midnovelafter a long setting upit's as fun and inventive as Clements' earlier fundamentalist humanoids.
Pub Date: Aug. 23, 1995
ISBN: 1-55611-442-7
Page Count: 304
Publisher: Donald Fine
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 1, 1995
BOOK REVIEW
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
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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