NO MORE LONELY NIGHTS

A lackluster soap opera with designer labels, expensive restaurants, and sexy locations, but not a spark of glamour. McGehee (Regret Not a Moment, 1993) takes as her heroine Dominique Avallon, the full-lipped daughter of a wealthy French cotton-manufacturing family in Cairo. To escape her sheltered upbringing, 21-year-old Dominique, in a simple navy dress, gets a job as secretary to a handsome but married British officer during the Suez crisis of 1956. When she refuses to put his children through the agony of a divorce, and political turmoil threatens her safety, Dominique marries Anton Renard and takes off for San Francisco in a fawn silk suit. Anton, who comes to bed with whiskey on his breath, is a louse who lives with his mother and lives off his women. Dominique escapes to Manhattan, where she becomes a successful event planner at New York's best department store. On the eve of her greatest triumph, she meets handsome shipping magnate Clay Parker, who sweeps her off her tiny feet and takes her to live in New Orleans. After giving up her career to be a good wife and mother, Dominique is dumped by Clay, who has fallen in love with a younger woman. Dominique buries her sorrow in Sara Lee pound cake, but in an epiphany finally recovers her backbone, resolves never again to depend on any man, and switches to tuna- fish salad. At 37, with her teenage daughter and problematic mother in tow, she moves to Washington, D.C. to build a new life. She resumes her friendship with charismatic Louisiana Senator Mark Patout, who is exponentially wealthier than Clay, but can she once again give up all she has built for the sake of romance? In a cream-colored suit, Dominique taxis to the Russell Senate Office Building. Like its heroine, tasteful but boring.

Pub Date: April 3, 1995

ISBN: 0-316-55854-0

Page Count: 480

Publisher: Little, Brown

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Feb. 1, 1995

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Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the...

FLY AWAY

Hannah’s sequel to Firefly Lane (2008) demonstrates that those who ignore family history are often condemned to repeat it.

When we last left Kate and Tully, the best friends portrayed in Firefly Lane, the friendship was on rocky ground. Now Kate has died of cancer, and Tully, whose once-stellar TV talk show career is in free fall, is wracked with guilt over her failure to be there for Kate until her very last days. Kate’s death has cemented the distrust between her husband, Johnny, and daughter Marah, who expresses her grief by cutting herself and dropping out of college to hang out with goth poet Paxton. Told mostly in flashbacks by Tully, Johnny, Marah and Tully’s long-estranged mother, Dorothy, aka Cloud, the story piles up disasters like the derailment of a high-speed train. Increasingly addicted to prescription sedatives and alcohol, Tully crashes her car and now hovers near death, attended by Kate’s spirit, as the other characters gather to see what their shortsightedness has wrought. We learn that Tully had tried to parent Marah after her father no longer could. Her hard-drinking decline was triggered by Johnny’s anger at her for keeping Marah and Paxton’s liaison secret. Johnny realizes that he only exacerbated Marah’s depression by uprooting the family from their Seattle home. Unexpectedly, Cloud, who rebuffed Tully’s every attempt to reconcile, also appears at her daughter’s bedside. Sixty-nine years old and finally sober, Cloud details for the first time the abusive childhood, complete with commitments to mental hospitals and electroshock treatments, that led to her life as a junkie lowlife and punching bag for trailer-trash men. Although powerful, Cloud’s largely peripheral story deflects focus away from the main conflict, as if Hannah was loath to tackle the intractable thicket in which she mired her main characters.

Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the pages turning even as readers begin to resent being drawn into this masochistic morass.

Pub Date: April 23, 2013

ISBN: 978-0-312-57721-6

Page Count: 416

Publisher: St. Martin's

Review Posted Online: Feb. 18, 2013

Kirkus Reviews Issue: March 1, 2013

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THE COLDEST WINTER EVER

Debut novel by hip-hop rap artist Sister Souljah, whose No Disrespect (1994), which mixes sexual history with political diatribe, is popular in schools country-wide. In its way, this is a tour de force of black English and underworld slang, as finely tuned to its heroine’s voice as Alice Walker’s The Color Purple. The subject matter, though, has a certain flashiness, like a black Godfather family saga, and the heroine’s eventual fall develops only glancingly from her character. Born to a 14-year-old mother during one of New York’s worst snowstorms, Winter Santiaga is the teenaged daughter of Ricky Santiaga, Brooklyn’s top drug dealer, who lives like an Arab prince and treats his wife and four daughters like a queen and her princesses. Winter lost her virginity at 12 and now focuses unwaveringly on varieties of adolescent self-indulgence: sex and sugar-daddies, clothes, and getting her own way. She uses school only as a stepping-stone for getting out of the house—after all, nobody’s paying her to go there. But if there’s no money in it, why go? Meanwhile, Daddy decides it’s time to move out of Brooklyn to truly fancy digs on Long Island, though this places him in the discomfiting position of not being absolutely hands-on with his dealers; and sure enough the rise of some young Turks leads to his arrest. Then he does something really stupid: he murders his wife’s two weak brothers in jail with him on Riker’s Island and gets two consecutive life sentences. Winter’s then on her own, especially with Bullet, who may have replaced her dad as top hood, though when she selfishly fails to help her pregnant buddy Simone, there’s worse—much worse—to come. Thinness aside: riveting stuff, with language so frank it curls your hair. (Author tour)

Pub Date: April 1, 1999

ISBN: 0-671-02578-3

Page Count: 320

Publisher: Pocket

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Feb. 1, 1999

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