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GARY BENCHLEY, ROCK STAR

A snapshot of what it means to be young, smug and oh-so-trendy, circa 2005.

A wry debut about self-absorbed twentysomethings who ditch bourgeois gigs in data entry for rock-’n’-roll dreams.

A 21st-century Candide, Gary Benchley fled Albany for New York City, starry-eyed about becoming the next Wayne Coyne of the Flaming Lips. Weaned on Royal Trux, Cat Power and other indie-rock no-hit wonders, he aspires to cult status. NPR technology commentator and editor at Harper’s magazine, Ford knowingly conveys the inflated angst and fleeting joys of standard white-boy life. Exploiting his young-man blues, Gary assembles Schizopolis, his multicultural supergroup—gay synth-player, chick drummer and Benchley himself on vocals and three-chord rhythm guitar. And, oh yeah, a black bassist, who, after trenchantly accusing Gary of “racial profiling,” gamely signs on. The alterna-sitcom unwinds as the band pens obscurantist anthems (“Tugboat,” “We’re All Annoying Together”), dazzles drunken handfuls in concert and releases an album, “Dancing with Architecture.” And as a coming of age tale, the novel features obligatory romance: Gary’s lukewarm liaison with one of the Big Apple’s hipper bloggers. Up-to-the-minute breathlessness is its charm, even while the book lacks the resonance of other rock novels like Nick Hornby’s High Fidelity or Roddy Doyle’s The Commitments. Nor does Gary have half the spiritual heft of Holden Caulfield, the granddaddy of the mixed-up seeker genre. Still, there are many disarmingly funny moments, such as Gary’s dad’s insistence that his boy provide him with legitimate career plans by means of a PowerPoint presentation.

A snapshot of what it means to be young, smug and oh-so-trendy, circa 2005.

Pub Date: Oct. 1, 2005

ISBN: 0-452-28663-8

Page Count: 256

Publisher: Plume

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 1, 2005

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TO KILL A MOCKINGBIRD

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

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DISTANT SHORES

Soft-focus story moves right along with few surprises. This time around, Hannah avoids the soap-opera complications of her...

Another middle-aged mom in a muddle.

After years of false starts and big hopes, Elizabeth’s ruggedly handsome husband Jack, a former football star, just landed a spot as a sportscaster on national news. He still loves her, even though much younger women are giving him come-hither looks. Heck, he doesn’t want to betray the love of his life after she helped him kick drugs and stuck by him even when he was a struggling has-been. And won’t it seem hypocritical if he fools around with his sexy assistant while he does in-depth reporting on a rape case involving a famous basketball center? Well, he fools around anyway. Elizabeth, nicknamed Birdie, knows nothing of this, but she withdraws from Jack when her hard-drinking, salt-of-the-earth father has a stroke and dies. Now no one will call her “sugar beet” ever again. Time to return home to Tennessee and contend with Anita, the sort-of-evil stepmother so trashy she wears pink puffy slippers all day long. Naturally, it turns out that Anita actually has a heart of gold and knows a few things about Birdie’s dead mother that were hushed up for years. Mom was an artist, just like Birdie, and an old scandal comes to light as Anita unrolls a vibrant canvas that portrays her secret lover. Perhaps, Birdie muses, her mother died of heartbreak, never having followed her true love or developed her talent. Has she, too, compromised everything she holds dear? Hoping to find out, Birdie joins a support group that promises to reconnect confused women with their passion. She and Jack separate, prompting a how-dare-you fit from their grown daughters. Will Birdie fly her empty nest? Will she go back to college for a degree in art? Will her brooding watercolors ever sell?

Soft-focus story moves right along with few surprises. This time around, Hannah avoids the soap-opera complications of her previous tales (Summer Island, 2001, etc.).

Pub Date: July 1, 2002

ISBN: 0-345-45071-X

Page Count: 352

Publisher: Ballantine

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: May 15, 2002

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