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DOOHICKEY

Since Hautman has excelled in both fairy tales and comic nightmares (Rag Man, 2001, etc.), he’s just the craftsman to plunk...

Yet another struggling businessman with romance in his heart and felony dogging his footsteps.

Talk about your cosmic justice. The day Nick Fashon finds out that his grandfather, reclusive inventor Caleb Hardy, has been found dead, his body nibbled by coyotes, is the same day that Love & Fashion, his clothing store, has burned to the ground, together with Nick’s uninsured apartment, his nine pairs of Bally shoes, and his collection of 500 Motown records. “Caleb had lost his life, but his stuff was okay. Nick had lost his stuff, but he was alive. Now he had new stuff,” muses the survivor, whose inheritance seems limited to Caleb’s crackpot prototypes—the Inch-Adder, the Comb-n-Clean, and all the rest of their uncommercial ilk. One item, though, seizes Nick’s fancy: the HandyMate, a kitchen gadget that slices, dices, and does everything else. Bent on bringing the enchanted chunk of plastic to market, Nick swiftly finds that although the HandyMate’s seized other fancies too—especially that of Caleb’s girlfriend Yola Fuente, the restaurateur who, claiming half ownership in the thingamabob, is determined to introduce it on her cooking program and run off with the proceeds—it leaves his impecunious partner, Vincent Love, cold, and stirs up nothing but trouble for Nick’s ladylove Gretchen Groth (Archaeology/Univ. of Arizona), whose demand that he not raise seed money from her ex-cop father Bootsie are matched by Bootsie’s demand that he take the money and make them both rich. A slippery insurance agent, a Tucson arson investigator, and an excitable loan shark are all on hand to drag Nick deeper into trouble.

Since Hautman has excelled in both fairy tales and comic nightmares (Rag Man, 2001, etc.), he’s just the craftsman to plunk his appealing hero into the middle of a tale so finely balanced that it could go either way right up to the end.

Pub Date: Oct. 2, 2002

ISBN: 0-7432-0019-5

Page Count: 288

Publisher: Simon & Schuster

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 2002

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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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LONESOME DOVE

A NOVEL (SIMON & SCHUSTER CLASSICS)

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

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