THE FALL LINE

An unintriguing post-felony intrigue with a hero who gets away from it all (dead wife and child, pursuit by Latin American drug lords, burial in federal witness protection program) by hitting the slopes big time. Jack Farrell's an adrenaline addict who—we learn in flashback—responded to the crib death of his baby daughter by whisking his grieving wife, Lena, a nurse wrestling with demons he was only dimly aware of, away from Chicago to California. His boring, lucrative new job there as head of tiny San Diego First Fidelity's foreign investment department offered one chance for excitement: sending the department's capital base skyrocketing by accepting the dubious transactions of Mexican importer-exporter Gabriel Cortez. Jack gradually realized he was getting taken for a ride by a Colombian drug cartel, but he couldn't help himself: ``Farrell was now fully into the world of money-laundering, hooked on the rush, a junkie for danger.'' Now, back in a present sans Lena, his parents, his bank job, and his old identity, he takes a novel approach to going underground, agreeing to appear in megalomaniac film director Inez Didier's documentary on extreme skiing—a devil's compact that'll take him on some hair-raising downhills from Utah to Tahoe to the Tetons, with vampirish Inez constantly devising new challenges (collision-course skiing, skiing blindfolded, skiing on thawed snow) for Jack and his fellow recruits, one-eyed Matthew Page and Rastaman Jerry Milburn (a.k.a The Wave). The endless ski sequences push so hard for excitement that they become narcotizing. Like Jack, Lena, and Gabriel, Inez is battling nasty family memories (Do you think these guys could all be related?) that produce terrific footage, sex-and-power games, and broad portents of disaster. First-novelist Sullivan tries for Hemingway on powder but ends up remaking The Stunt Man with Leni Riefenstahl in the Peter O'Toole role, intercut with soporific flashbacks to a B-grade drug film.

Pub Date: Nov. 1, 1994

ISBN: 0-8217-4710-X

Page Count: 352

Publisher: Kensington

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Sept. 15, 1994

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TO KILL A MOCKINGBIRD

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

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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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