The overfed conclusion to an African-American soap opera.
Johnson ties up the loose threads of his fast-paced, thuggish trilogy.
In The Million Dollar Divorce (2004) and The Million Dollar Deception (2008), Nate Kenny manipulated, interfered, bought off and blackmailed his way into the life he wanted; when wife Monica couldn’t bear him a child, he hired Lewis Waters to seduce her so he could save his fortune in a no-contest divorce. But everything has repercussions, and this final installment opens with the appearance of Freddy Ford, Lewis’ best friend, who has lost everything he loves thanks to Nate. Freddy shows up at Nate’s house, shoots him four times, shoots Monica in the head (the two were reconciling) and kidnaps their adopted son Nathaniel. He leaves Chicago for Atlanta, killing a cop on the way, to hide out with old girlfriend Joni while he figures out what to do with the toddler in the back seat and the law on his trail. Against all odds Nate survives, and Monica lies in a coma with good chances for a full recovery. The story is complicated by Daphanie, Nate’s girlfriend before he reconciled with Monica. Daphanie, pregnant by Trevor, tells Nate that the baby is really his in an attempt to woo him back while Monica is still out of commission. Lewis is trying to regain custody of his daughter Layla, who lives at Monica and Nate’s house, though he is not sure he is her biological father. Deceptions, more killing, a budding romance between Lewis and a social worker—it’s a lot of plot in one book. There are some strange, sad moments, as when Freddy and Joni reassure themselves they’d make great parents, and no one survives intact in this kind of modern pulp noir, driven by a nihilism that sees deception as the world’s lingua franca.
The overfed conclusion to an African-American soap opera.Pub Date: Sept. 1, 2009
ISBN: 978-1-4165-9626-4
Page Count: 304
Publisher: Simon & Schuster
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 2009
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
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
APPRECIATIONS
Genetically engineered dinosaurs run amok in Crichton's new, vastly entertaining science thriller. From the introduction alone—a classically Crichton-clear discussion of the implications of biotechnological research—it's evident that the Harvard M.D. has bounced back from the science-fantasy silliness of Sphere (1987) for another taut reworking of the Frankenstein theme, as in The Andromeda Strain and The Terminal Man. Here, Dr. Frankenstein is aging billionaire John Hammond, whose monster is a manmade ecosystem based on a Costa Rican island. Designed as the world's ultimate theme park, the ecosystem boasts climate and flora of the Jurassic Age and—most spectacularly—15 varieties of dinosaurs, created by elaborate genetic engineering that Crichton explains in fascinating detail, rich with dino-lore and complete with graphics. Into the park, for a safety check before its opening, comes the novel's band of characters—who, though well drawn, double as symbolic types in this unsubtle morality play. Among them are hero Alan Grant, noble paleontologist; Hammond, venal and obsessed; amoral dino-designer Henry Wu; Hammond's two innocent grandchildren; and mathematician Ian Malcolm, who in long diatribes serves as Crichton's mouthpiece to lament the folly of science. Upon arrival, the visitors tour the park; meanwhile, an industrial spy steals some dino embryos by shutting down the island's power—and its security grid, allowing the beasts to run loose. The bulk of the remaining narrative consists of dinos—ferocious T. Rex's, voracious velociraptors, venom-spitting dilophosaurs—stalking, ripping, and eating the cast in fast, furious, and suspenseful set-pieces as the ecosystem spins apart. And can Grant prevent the dinos from escaping to the mainland to create unchecked havoc? Though intrusive, the moralizing rarely slows this tornado-paced tale, a slick package of info-thrills that's Crichton's most clever since Congo (1980)—and easily the most exciting dinosaur novel ever written. A sure-fire best-seller.
Pub Date: Nov. 7, 1990
ISBN: 0394588169
Page Count: 424
Publisher: Knopf
Review Posted Online: Sept. 21, 2011
Kirkus Reviews Issue: Oct. 15, 1990
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