Joss begins her psychological vivisection where other suspense novelists leave off. The results are extraordinary.
A calamitous accident is followed by an even more unsettling event in this sixth helping of psychological suspense from Joss (Half Broken Things, 2005, etc.).
Minutes after discovering that her husband, a Wiltshire anesthesiologist, is cheating on her, the nameless narrator, professing that the end of her marriage really doesn’t matter, inadvertently runs over a bicyclist and kills her. Leaving her victim, retired teacher Ruth Mitchell, in the road and driving off is cruel enough to her but even crueler to Ruth’s husband Arthur. Disconnected and disoriented, Arthur begins writing letters to his dead wife at the suggestion of a friend, and the correspondence takes on a disturbing life of its own when he begins to seek some sign of her everywhere, including in their house and garden, and in The Cold and the Beauty and the Dark, the unfinished novel she’d been writing. As Ruth’s novel-within-a-novel unfolds, the story of Evelyn Ashworth’s betrayal first by her husband and then by his uncle between 1932 and 1956, it gradually becomes clear both that her characters are more solid and substantial, albeit less nuanced, than Joss’s own, and that the two sets of characters have some definite connection. Arthur, withdrawing from the well-intentioned neighbors determined to comfort him over his most violent objections, searches more and more urgently for that connection. Meantime, Ruth’s accidental killer, drawn by motives deeper and more obscure than mere remorse, takes to watching Arthur’s house and insinuating herself into it, taking the place of the woman whose life she ended. Joss’s exploration of her loners’ doomed attempts to reach outside themselves will remind readers of Ruth Rendell and Minette Walters, but her pathology is even more elliptical.
Joss begins her psychological vivisection where other suspense novelists leave off. The results are extraordinary.Pub Date: March 4, 2008
ISBN: 978-0-385-34118-9
Page Count: 368
Publisher: Delacorte
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 15, 2008
BOOK REVIEW
BOOK REVIEW
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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