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ICE CREAM WAR

Name: ICE CREAM WAR
Author: Paul Janson
ISBN: 978-0990742401

by Paul Janson ‧ RELEASE DATE: Oct. 9, 2014

A light tale that will appeal to fans of the cozy mystery genre.

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In Janson’s (Mal Practice, 2013, etc.) mystery set in small-town Nebraska, an ice cream shop owner reluctantly assists her business rival when a dead body is found in his store.

This novel is a competent, cozy mystery of the dream-job genre, in which a sleuth is reluctantly drawn into an investigation when she’d rather be pursuing her desired career. Here, Mary Burke, who graduated from law school but never took the bar exam, spends her days trying to sell ice cream in her small hometown—that is, when she isn’t seething over the antics of Jeremiah “Jerry” Wilson, a Southern California surfer and slacker who’s returned to town to keep an eye on his crazy Aunt May. Unfortunately, Jerry has also chosen to reopen his ice cream parlor, but he isn’t in it for the money—instead, he gives the stuff away. When one of Jerry’s ex-roommates from Huntington Beach, California—the decidedly unsavory Angie—turns up dead in his store, Mary can’t help putting her legal mind to work to help the hapless man out of his fix. The predictable conflict between Midwest small-town values and the presumed sex-drugs-and-rock ’n’ roll lifestyle of Left Coast denizens is played for laughs; Jerry’s apparent stoner vibe, for example, turns out to be more Zen than zonked, and when he talks about selling grass, he actually means sod. However, his blissed-out naïveté can wear thin after a while. There’s some effective nastiness afoot, however, regarding roomies that Jerry tried, and failed, to pull out of destructive lifestyles, and the Nebraskans who hide venality under a wholesome facade. Underneath the high jinks, though, this is a mystery that plays fair and relies on the accumulation and analysis of evidence—rather than characters running around frantically until the solution falls into their lap, as is too often the case in mysteries of this ilk.

A light tale that will appeal to fans of the cozy mystery genre.

Pub Date: Oct. 9, 2014

ISBN: 978-0990742401

Page Count: 258

Publisher: JM Publishing

Review Posted Online: May 20, 2015

Review Program: Kirkus Indie

Categories:

GENERAL FICTION

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SUMMER ISLAND

by Kristin Hannah ‧ RELEASE DATE: March 1, 2001

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with...

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Talk-show queen takes tumble as millions jeer.

Nora Bridges is a wildly popular radio spokesperson for family-first virtues, but her loyal listeners don't know that she walked out on her husband and teenaged daughters years ago and didn't look back. Now that a former lover has sold racy pix of naked Nora and horny himself to a national tabloid, her estranged daughter Ruby, an unsuccessful stand-up comic in Los Angeles, has been approached to pen a tell-all. Greedy for the fat fee she's been promised, Ruby agrees and heads for the San Juan Islands, eager to get reacquainted with the mom she plans to betray. Once in the family homestead, nasty Ruby alternately sulks and glares at her mother, who is temporarily wheelchair-bound as a result of a post-scandal car crash. Uncaring, Ruby begins writing her side of the story when she's not strolling on the beach with former sweetheart Dean Sloan, the son of wealthy socialites who basically ignored him and his gay brother Eric. Eric, now dying of cancer and also in a wheelchair, has returned to the island. This dismal threesome catch up on old times, recalling their childhood idylls on the island. After Ruby's perfect big sister Caroline shows up, there's another round of heartfelt talk. Nora gradually reveals the truth about her unloving husband and her late father's alcoholism, which led her to seek the approval of others at the cost of her own peace of mind. And so on. Ruby is aghast to discover that she doesn't know everything after all, but Dean offers her subdued comfort. Happy endings await almost everyone—except for readers of this nobly preachy snifflefest.

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with syrupy platitudes about life and love.

Pub Date: March 1, 2001

ISBN: 0-609-60737-5

Page Count: 336

Publisher: Crown

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Jan. 15, 2001

Categories:

GENERAL FICTION

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LAST ORDERS

by Graham Swift ‧ RELEASE DATE: April 5, 1996

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Britisher Swift's sixth novel (Ever After, 1992 etc.) and fourth to appear here is a slow-to-start but then captivating tale of English working-class families in the four decades following WW II. When Jack Dodds dies suddenly of cancer after years of running a butcher shop in London, he leaves a strange request—namely, that his ashes be scattered off Margate pier into the sea. And who could better be suited to fulfill this wish than his three oldest drinking buddies—insurance man Ray, vegetable seller Lenny, and undertaker Vic, all of whom, like Jack himself, fought also as soldiers or sailors in the long-ago world war. Swift's narrative start, with its potential for the melodramatic, is developed instead with an economy, heart, and eye that release (through the characters' own voices, one after another) the story's humanity and depth instead of its schmaltz. The jokes may be weak and self- conscious when the three old friends meet at their local pub in the company of the urn holding Jack's ashes; but once the group gets on the road, in an expensive car driven by Jack's adoptive son, Vince, the story starts gradually to move forward, cohere, and deepen. The reader learns in time why it is that no wife comes along, why three marriages out of three broke apart, and why Vince always hated his stepfather Jack and still does—or so he thinks. There will be stories of innocent youth, suffering wives, early loves, lost daughters, secret affairs, and old antagonisms—including a fistfight over the dead on an English hilltop, and a strewing of Jack's ashes into roiling seawaves that will draw up feelings perhaps unexpectedly strong. Without affectation, Swift listens closely to the lives that are his subject and creates a songbook of voices part lyric, part epic, part working-class social realism—with, in all, the ring to it of the honest, human, and true.