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LIP SERVICE

A debut novel, originally self-published last year, by former ad-woman (and Harlequin Romance account exec) Rose, who constructs a psychological thriller out of a sheltered housewife’s sudden immersion in the world of telephone sex. Thanks to Hannibal Lecter, the deranged shrink is now very much in vogue, but Paul Sterling is really more insensitive than malign. The somewhat distant husband of shy Julia Sterling, Paul is a psychiatrist who spends most of his efforts on an organization (Fathers in Trouble—or FIT) that he’s recently started to help deadbeat dads find work and become productive family men. Naturally, much of his time is consumed in fund-raising, and here Julia’s debutante upbringing stands her in good stead as she hosts and charms the various fat wallets of Manhattan’s Upper East Side. One of the couple’s donors is Sam Butterfield, only slightly overweight but very distinctly odd. Sam is also a shrink, and he and his wife run the Butterfield Institute, one of the most prominent sexual research centers in the world. When Sam mentions that much of the Institute’s work is done by “telephone therapists,” Julia asks to be trained for the job. The “telephone therapy” turns out to be phone sex, pure and simple, but Julia finds it to be extremely satisfying—until one of her callers starts bragging about his exploits with his young stepdaughter. Here, Julia comes head-to-head with the true perversity of sexual fantasy: Is what she’s hearing real, and should she intervene? The search for the culprit and the attempt to discover the truth of the case bring far more attention to Julia’s investigations than she ever bargained for. But that’s the price of truth. Corny beyond belief, but amusing nevertheless, Rose’s journey into the shallow waters of modern lust will keep you turning the pages. (Literary Guild alternate selection)

Pub Date: Sept. 1, 1999

ISBN: 0-671-04131-2

Page Count: 304

Publisher: Pocket

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 1, 1999

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THE SILENT PATIENT

Amateurish, with a twist savvy readers will see coming from a mile away.

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A woman accused of shooting her husband six times in the face refuses to speak.

"Alicia Berenson was thirty-three years old when she killed her husband. They had been married for seven years. They were both artists—Alicia was a painter, and Gabriel was a well-known fashion photographer." Michaelides' debut is narrated in the voice of psychotherapist Theo Faber, who applies for a job at the institution where Alicia is incarcerated because he's fascinated with her case and believes he will be able to get her to talk. The narration of the increasingly unrealistic events that follow is interwoven with excerpts from Alicia's diary. Ah, yes, the old interwoven diary trick. When you read Alicia's diary you'll conclude the woman could well have been a novelist instead of a painter because it contains page after page of detailed dialogue, scenes, and conversations quite unlike those in any journal you've ever seen. " 'What's the matter?' 'I can't talk about it on the phone, I need to see you.' 'It's just—I'm not sure I can make it up to Cambridge at the minute.' 'I'll come to you. This afternoon. Okay?' Something in Paul's voice made me agree without thinking about it. He sounded desperate. 'Okay. Are you sure you can't tell me about it now?' 'I'll see you later.' Paul hung up." Wouldn't all this appear in a diary as "Paul wouldn't tell me what was wrong"? An even more improbable entry is the one that pins the tail on the killer. While much of the book is clumsy, contrived, and silly, it is while reading passages of the diary that one may actually find oneself laughing out loud.

Amateurish, with a twist savvy readers will see coming from a mile away.

Pub Date: Feb. 5, 2019

ISBN: 978-1-250-30169-7

Page Count: 304

Publisher: Celadon Books

Review Posted Online: Nov. 3, 2018

Kirkus Reviews Issue: Nov. 15, 2018

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LONESOME DOVE

A NOVEL (SIMON & SCHUSTER CLASSICS)

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

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