Awkward transitions and blustering characterizations of Twain, Sherman, and others don't undercut the emotional punch here:...

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THAT FATEFUL LIGHTNING

Sentimental but stirring salute to Ulysses S. Grant that visits the former Civil War general and American president near the end of his life, as he suffers stoically with poverty and throat cancer while struggling to complete his memoirs.

Previously dismissed as a cigar-chewing drunk who ruthlessly wasted troops in battle, presided over a corrupt administration as a two-term president, and blithely permitted Sherman to carry out his brutal slaughter of Native Americans, Grant is becoming the darling of revisionist Civil War historians. For them, the Ohio-born warrior is an American icon whose triumph over alcoholism, depression, and business failure taught him that war was not a God-given opportunity to fight romantically for a worthy cause but, rather, a horrific contest in which survival was more important than winning. Parry (The Wolf's Pack, 1998, etc.) opens his story at Appomattox, with a mud-spattered, unusually perceptive Grant quietly enduring Lee's aristocratic bombast out of pity for his beaten rival. The narrative then leaps ahead to a New York surgery where a team of physicians can't bear to tell the former president, recently impoverished by a corrupt business partner, that he has less than a year to live. After refusing offers of public and private charity, Grant agrees to write his memoirs for Mark Twain's nascent publishing company, hoping to earn enough to provide for his wife and children. From here on, a series of battlefield flashbacks fill in some of the more speculative blanks in the memoir, where Grant learns from his awful misjudgments and draws strength from so much wartime misery—strength that helps him complete his book and die with amazing dignity.

Awkward transitions and blustering characterizations of Twain, Sherman, and others don't undercut the emotional punch here: Parry's burnished Grant is nothing less than an American saint, whose proud but lonely end will bring tears from the most hardened Robert E. Lee fan.

Pub Date: June 6, 2000

ISBN: 0-345-42728-9

Page Count: 368

Publisher: Ballantine

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: June 1, 2000

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A strange, subtle, and haunting novel.

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THE GLASS HOTEL

A financier's Ponzi scheme unravels to disastrous effect, revealing the unexpected connections among a cast of disparate characters.

How did Vincent Smith fall overboard from a container ship near the coast of Mauritania, fathoms away from her former life as Jonathan Alkaitis' pretend trophy wife? In this long-anticipated follow-up to Station Eleven (2014), Mandel uses Vincent's disappearance to pick through the wreckage of Alkaitis' fraudulent investment scheme, which ripples through hundreds of lives. There's Paul, Vincent's half brother, a composer and addict in recovery; Olivia, an octogenarian painter who invested her retirement savings in Alkaitis' funds; Leon, a former consultant for a shipping company; and a chorus of office workers who enabled Alkaitis and are terrified of facing the consequences. Slowly, Mandel reveals how her characters struggle to align their stations in life with their visions for what they could be. For Vincent, the promise of transformation comes when she's offered a stint with Alkaitis in "the kingdom of money." Here, the rules of reality are different and time expands, allowing her to pursue video art others find pointless. For Alkaitis, reality itself is too much to bear. In his jail cell, he is confronted by the ghosts of his victims and escapes into "the counterlife," a soothing alternate reality in which he avoided punishment. It's in these dreamy sections that Mandel's ideas about guilt and responsibility, wealth and comfort, the real and the imagined, begin to cohere. At its heart, this is a ghost story in which every boundary is blurred, from the moral to the physical. How far will Alkaitis go to deny responsibility for his actions? And how quickly will his wealth corrupt the ambitions of those in proximity to it? In luminous prose, Mandel shows how easy it is to become caught in a web of unintended consequences and how disastrous it can be when such fragile bonds shatter under pressure.

A strange, subtle, and haunting novel.

Pub Date: March 24, 2020

ISBN: 978-0-525-52114-3

Page Count: 320

Publisher: Knopf

Review Posted Online: Nov. 25, 2019

Kirkus Reviews Issue: Dec. 15, 2019

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Archer will be a great series character for fans of crime fiction. Let’s hope the cigarettes don’t kill him.

ONE GOOD DEED

Thriller writer Baldacci (A Minute to Midnight, 2019, etc.) launches a new detective series starring World War II combat vet Aloysius Archer.

In 1949, Archer is paroled from Carderock Prison (he was innocent) and must report regularly to his parole officer, Ernestine Crabtree (she’s “damn fine-looking”). Parole terms forbid his visiting bars or loose women, which could become a problem. Trouble starts when businessman Hank Pittleman offers Archer $100 to recover a ’47 Cadillac that’s collateral for a debt owed by Lucas Tuttle, who readily agrees he owes the money. But Tuttle wants his daughter Jackie back—she’s Pittleman’s girlfriend, and she won’t return to Daddy. Archer finds the car, but it’s been torched. With no collateral to collect, he may have to return his hundred bucks. Meanwhile, Crabtree gets Archer the only job available, butchering hogs at the slaughterhouse. He’d killed plenty of men in combat, and now he needs peace. The Pittleman job doesn’t provide that peace, but at least it doesn’t involve bashing hogs’ brains in. People wind up dead and Archer becomes a suspect. So he noses around and shows that he might have the chops to be a good private investigator, a shamus. This is an era when gals have gams, guys say dang and keep extra Lucky Strikes in their hatbands, and a Lady Liberty half-dollar buys a good meal. The dialogue has a '40s noir feel: “And don’t trust nobody.…I don’t care how damn pretty they are.” There’s adult entertainment at the Cat’s Meow, cheap grub at the Checkered Past, and just enough clichés to prove that no one’s highfalutin. Readers will like Archer. He’s a talented man who enjoys detective stories, won’t keep ill-gotten gains, and respects women. All signs suggest a sequel where he hangs out a shamus shingle.

Archer will be a great series character for fans of crime fiction. Let’s hope the cigarettes don’t kill him.

Pub Date: July 9, 2019

ISBN: 978-1-5387-5056-8

Page Count: 432

Publisher: Grand Central Publishing

Review Posted Online: Nov. 14, 2019

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