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THE GOSPEL OF CATHERINE DEARE

An original religious plot buoyed by philosophical depth.

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After the 9/11 terrorist attacks, a woman leaves her family to follow a man she believes is Jesus.  

In this novel, Catherine Deare lives a happy but ordinary life in a suburb of Pennsylvania. Contentedly married and the mother of a well-adjusted teenager, she works as an entertainer at children’s birthday parties (she studied music in college). Then one day that begins like any other, she picks up a hitchhiker who says he’s headed to Philadelphia who’s preternaturally intuitive and generally mysterious, with just a hint of the kind of religious zeal that usually discomfits her. Before he departs, he inexplicably guesses that Catherine suffers from the loss of a child—she did, in fact, lose her daughter, Lindsey, in a freak accident some 10 years earlier. She is convinced she just met Jesus, and at the very least he looks the part: tall and slender, with a mane of long hair and a face blanketed with a full beard. Later that same day, Catherine discovers that the World Trade Center was attacked and the grim news slowly trickles in from friends, family, and television reports. The nation as a whole reacts to the catastrophe with a blend of implacable bloodlust and ostentatious displays of patriotism, which makes Catherine profoundly uncomfortable, a collective response powerfully captured by Colahan (Career School, 2015). Even Catherine’s husband, Brian, an otherwise reasonable man, is overcome by a “thirst for vengeance.” Then, emotionally roiled by stress and her family’s insistence that she enlist the help of a therapist, Catherine runs into that stranger yet again, who takes her to meet his group of disciples, who refer to him as “Lord” and “Master.” He confirms her suspicions that he is Jesus, and Catherine abandons her family to join his quest to return to Bethlehem.  Colahan builds an emotionally arresting drama around a refreshingly unconventional premise. And Jesus’ band of disciples is an intriguingly eclectic bunch, including a prostitute and a fugitive serial rapist. Jesus remains an enigmatic character even after he affirms his identity—he seems remarkably ordinary in some respects for a divine personage, and his refusal to present an unambiguous demonstration of his power through the performance of miracles frustrates his followers to no end. Still, there’s something nebulously masterly about him, a kind of supernatural spirituality that makes his preposterous claim plausible. The conceit of the novel produces some philosophically searching discussions about the nature of Christianity and moral judgment, the character of evil and sin, and topical issues like the death penalty. Colahan also raises a provocative question: If Jesus were to actually walk the Earth today, what would be his purpose? Jesus answers this obliquely: “Catherine, believe it or not, saving the world from its problems has never been my mission. That’s like expecting a marriage counselor to save every marriage. The counselor shows the troubled couple the route they should go, but they still have to take the journey themselves or the marriage will fail.” 

An original religious plot buoyed by philosophical depth. 

Pub Date: May 8, 2018

ISBN: 978-1-945330-90-2

Page Count: 391

Publisher: Telemachus Press

Review Posted Online: Aug. 4, 2018

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SUMMER ISLAND

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with...

Talk-show queen takes tumble as millions jeer.

Nora Bridges is a wildly popular radio spokesperson for family-first virtues, but her loyal listeners don't know that she walked out on her husband and teenaged daughters years ago and didn't look back. Now that a former lover has sold racy pix of naked Nora and horny himself to a national tabloid, her estranged daughter Ruby, an unsuccessful stand-up comic in Los Angeles, has been approached to pen a tell-all. Greedy for the fat fee she's been promised, Ruby agrees and heads for the San Juan Islands, eager to get reacquainted with the mom she plans to betray. Once in the family homestead, nasty Ruby alternately sulks and glares at her mother, who is temporarily wheelchair-bound as a result of a post-scandal car crash. Uncaring, Ruby begins writing her side of the story when she's not strolling on the beach with former sweetheart Dean Sloan, the son of wealthy socialites who basically ignored him and his gay brother Eric. Eric, now dying of cancer and also in a wheelchair, has returned to the island. This dismal threesome catch up on old times, recalling their childhood idylls on the island. After Ruby's perfect big sister Caroline shows up, there's another round of heartfelt talk. Nora gradually reveals the truth about her unloving husband and her late father's alcoholism, which led her to seek the approval of others at the cost of her own peace of mind. And so on. Ruby is aghast to discover that she doesn't know everything after all, but Dean offers her subdued comfort. Happy endings await almost everyone—except for readers of this nobly preachy snifflefest.

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with syrupy platitudes about life and love.

Pub Date: March 1, 2001

ISBN: 0-609-60737-5

Page Count: 336

Publisher: Crown

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Jan. 15, 2001

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LAST ORDERS

Britisher Swift's sixth novel (Ever After, 1992 etc.) and fourth to appear here is a slow-to-start but then captivating tale of English working-class families in the four decades following WW II. When Jack Dodds dies suddenly of cancer after years of running a butcher shop in London, he leaves a strange request—namely, that his ashes be scattered off Margate pier into the sea. And who could better be suited to fulfill this wish than his three oldest drinking buddies—insurance man Ray, vegetable seller Lenny, and undertaker Vic, all of whom, like Jack himself, fought also as soldiers or sailors in the long-ago world war. Swift's narrative start, with its potential for the melodramatic, is developed instead with an economy, heart, and eye that release (through the characters' own voices, one after another) the story's humanity and depth instead of its schmaltz. The jokes may be weak and self- conscious when the three old friends meet at their local pub in the company of the urn holding Jack's ashes; but once the group gets on the road, in an expensive car driven by Jack's adoptive son, Vince, the story starts gradually to move forward, cohere, and deepen. The reader learns in time why it is that no wife comes along, why three marriages out of three broke apart, and why Vince always hated his stepfather Jack and still does—or so he thinks. There will be stories of innocent youth, suffering wives, early loves, lost daughters, secret affairs, and old antagonisms—including a fistfight over the dead on an English hilltop, and a strewing of Jack's ashes into roiling seawaves that will draw up feelings perhaps unexpectedly strong. Without affectation, Swift listens closely to the lives that are his subject and creates a songbook of voices part lyric, part epic, part working-class social realism—with, in all, the ring to it of the honest, human, and true.

Pub Date: April 5, 1996

ISBN: 0-679-41224-7

Page Count: 304

Publisher: Knopf

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Feb. 15, 1996

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