Back in Cambridge visiting her lover, Inspector Edward Gisborne, Vancouver history professor Gillian Adams tussles with a double murder. First, there's the killing of Wendy Fowler, a blunt, directive counselor at the Pregnancy Information Service (PIS) and a brilliant, ambitious chemistry research fellow well-hated by the boorish/envious/fuddy-duddy males in her adoptive department—all except for the married colleague with whom she'd been carrying on an affair. Before Edward and Co. can identify Wendy's married man, they find the body of Cynthia Perdreau, who'd had an abortion just before her murder—and just after consulting the folks at PIS. Is PIS the link between the two women, or is the answer to be found among Wendy's colleagues or in her research? More nuanced in its feminism than In the Shadow of King's (1984) or My Sister's Keeper (1992)—her involvement with Edward moves Gillian to defend the police against a particularly vitriolic anti-male diatribe—but, after some promising early hints, just as exasperating in its detection, which never gives you a proper look at the murderer before the net closes in.
Pub Date: May 17, 1994
ISBN: 0-312-10934-2
Page Count: 256
Publisher: St. Martin's
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 1994
BOOK REVIEW
BOOK REVIEW
Patchett's first novel, set in rural Kentucky in a castle-like home for unwed mothers—where a good woman finds she cannot lie her way beyond love—has a quiet summer-morning sensibility that reminds one of the early work of Anne Tyler. Within the security of everydayness, minds and hearts take grievous risks. ``Maybe I was born to lie,'' thinks Rose, who, after a three- year marriage to nice Tom Clinton, realizes that she's misread the sign from God pointing to the wedding: she married a man she didn't love. From San Diego, then, Rose drives—``nothing behind me and nothing ahead of me''—all the way to Kentucky and St. Elizabeth's home for unwed mothers, where she plans to have the baby Tom will never know about, and to give it clean away. But in the home, once a grand hotel, Rose keeps her baby, Cecilia; marries ``Son,'' the handyman (``God was right after all...I was supposed to live a small life with a man I didn't love''); and becomes the cook after briefly assisting that terrible cook, sage/seeress, and font of love, Sister Evangeline. The next narrative belongs to Son, a huge man originally from Tennessee—like Rose, gone forever from home- -who recounts the last moments of his fiancÇe's life long ago (Sister Evangeline absolves him of responsibility) and who loves Rose. The last narrator is teenaged Cecilia, struggling to find her elusive mother within the competent Rose, who's moved into her own house away from husband and daughter. Like Rose years before, her daughter considers the benefits of not knowing ``what was going on''...as the recent visitor—small, sad Tom Clinton—drives off, and Cecilia knows that Rose, who left before he came, will never return. In an assured, warm, and graceful style, a moving novel that touches on the healing powers of chance sanctuaries of love and fancy in the acrid realities of living.
Pub Date: May 1, 1992
ISBN: 0-395-61306-X
Page Count: 368
Publisher: Houghton Mifflin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 1, 1992
SEEN & HEARD
Edgar’s own story in the present is more compelling than the revelations of the key’s past, and the novel might have been...
The prolific master of psycho-horror returns to the mysteries of the creative process, a subject that has inspired some of his most haunting work.
This could be considered a companion piece to The Shining, offering plenty of reversals on that plot. In both cases, isolation has severe effects on the psyche of an artist, yet where the former novel found its protagonist in a lethal state of writer’s block, the latter sees a one-time building magnate transformed into an impossibly prolific and powerful painter, due to circumstances beyond his control. And where the isolation in the former had a family cut off from society by a frigid northern winter, the setting of the latter is a mysterious Florida key, lush and tropical in its overgrowth, somehow immune to commercial development. A self-made millionaire, Edgar Freemantle narrates the novel in a conversational, matter-of-fact tone. He explains how a job-site accident cost him his arm, his sanity (during the early part of an extended recuperation) and his wife (whom he had physically threatened after the accident transformed him into something other than himself). What he gained was a seemingly inexplicable command as a visual artist, particularly after his recuperation (from both his accident and his marriage) takes him to the isolated Duma Key, where the only other inhabitants are an elderly, wealthy woman and her caretaker. It seems that all three have suffered severe traumas that bond them and that perhaps have even drawn them together. Soon Edgar discovers that his art has given him the power not only to predict the future, but to transform it. He ultimately pays a steep price for his artistic gifts, particularly as his investigation of the mysteries of Duma Key lead him to discover the tragic origins of his artistic vision.
Edgar’s own story in the present is more compelling than the revelations of the key’s past, and the novel might have been twice as powerful if it had been cut by a third, but King fans will find it engrossing.Pub Date: Jan. 1, 2008
ISBN: 978-1-4165-5251-2
Page Count: 624
Publisher: Scribner
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 2007
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