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PUTTERING ABOUT IN A SMALL LAND

The diffidence of the title is appropriate: this is a subtle, minimalist portrait of two American couples circa 1953 by the late Dick—a writer best known for his sardonic, pyrotechnic science fiction. Only the second of his early realistic novels to see print (Confessions of a Crap Artist appeared in 1975), this is set in postwar southern California, with excellent flashbacks to a Forties milieu of around-the-clock defense plants and the dogged, weary workers who staffed them. Dick's central characters, Roger and Virginia Lindahl, have gravitated to California from wartime Washington, D.C. Rootless and ill-matched, they stay shakily together until their small son's enrollment in a private school creates a crisis. Dick, whose message throughout his career had to do with the dangers of totalitarianism (seen by him in a thousand guises), once said the menace lurked even in private relationships—whenever "someone. . .is more powerful than you." Perhaps this conviction inspired his focus on the shifting balance of power in the marriage of Roger and Virginia Lindahl. Roger is an Arkansas farm boy, a drifter and dreamer who has already abandoned one family and who sticks with Virginia after the war only because his overbearing, Boston-bred mother-in-law sets him up in his own TV sales and repair shop. His all-too-poised wife Virginia, on the other hand, is a soi disant aristocrat involved in "therapeutic dance," unconsciously hostile not only to Roger but also to her small son. When Roger and Virginia meet another couple with children in this son's private school—uptight Chic Bonner and his slatternly but rather appealing wife Liz—both couples begin to disintegrate. Though Dick never quite brings off Roger Lindahl (he emerges as likeable but too habitually cerebral to be convincing as an uneducated "natural"), he nonetheless writes perceptively of his California setting. If published when written during the 1950's, chances are that this distinctly uncommercial character study would have sunk without a trace. Its strongest appeal in 1985 is likely to be its sketchy but memorable re-creation of the real ambiance of the war and postwar years—an era that popular myth has already eroded into a series of "Happy Days" clich‚s.

Pub Date: Nov. 1, 1985

ISBN: 0765316943

Page Count: 333

Publisher: Academy Chicago

Review Posted Online: Sept. 22, 2011

Kirkus Reviews Issue: Oct. 15, 1985

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MAGIC HOUR

Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.

Sisters work together to solve a child-abandonment case.

Ellie and Julia Cates have never been close. Julia is shy and brainy; Ellie gets by on charm and looks. Their differences must be tossed aside when a traumatized young girl wanders in from the forest into their hometown in Washington. The sisters’ professional skills are put to the test. Julia is a world-renowned child psychologist who has lost her edge. She is reeling from a case that went publicly sour. Though she was cleared of all wrongdoing, Julia’s name was tarnished, forcing her to shutter her Beverly Hills practice. Ellie Barton is the local police chief in Rain Valley, who’s never faced a tougher case. This is her chance to prove she is more than just a fading homecoming queen, but a scarcity of clues and a reluctant victim make locating the girl’s parents nearly impossible. Ellie places an SOS call to her sister; she needs an expert to rehabilitate this wild-child who has been living outside of civilization for years. Confronted with her professional demons, Julia once again has the opportunity to display her talents and salvage her reputation. Hannah (The Things We Do for Love, 2004, etc.) is at her best when writing from the girl’s perspective. The feral wolf-child keeps the reader interested long after the other, transparent characters have grown tiresome. Hannah’s torturously over-written romance passages are stale, but there are surprises in store as the sisters set about unearthing Alice’s past and creating a home for her.

Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.

Pub Date: March 1, 2006

ISBN: 0-345-46752-3

Page Count: 400

Publisher: Ballantine

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: Dec. 1, 2005

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THE CATCHER IN THE RYE

A strict report, worthy of sympathy.

A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.

"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….

A strict report, worthy of sympathy.

Pub Date: June 15, 1951

ISBN: 0316769177

Page Count: -

Publisher: Little, Brown

Review Posted Online: Nov. 2, 2011

Kirkus Reviews Issue: June 15, 1951

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