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WHAT ARE THE ODDS?

THE CALCULUS OF COINCIDENCE

A plodding and confusing story that’s hampered by a lack of believability and awkward prose.

A young man meticulously plans a yearslong plot to avenge his mother’s abuse at the hands of a powerful political figure.

Marci Davis is on the fast track to success. The Louisville native is among the first African American women to earn a degree from the University of Kentucky in the 1950s. She becomes a “key aide” to the state’s governor, Bentley Wellington, but this comes to an end after he brutally rapes and impregnates her. She moves to New Jersey to start a new life, even changing her name to Marci Davis Jeffries. Much later, in 1975, she tells her son, Sean, the truth about his conception, and he devotes himself to exacting revenge on his mother’s behalf. His plan is exasperatingly convoluted, however, which is typical of Hilliard’s meandering, ill-disciplined narrative. It involves Sean’s acquiring “an intimate working knowledge of the thoroughbred racing industry” in order to strike at the Wellingtons’ most successful holdings, “one of the premier breeding operations in the nation.” Even when the Wellington business empire falls on hard times, the breeding business is still a shining success, although Beau Bentley, Sean’s half brother, threatens to destroy it himself through his illegal financial dealings. Meanwhile, Jorge Hauptmann, one of Sean’s friends, discovers that the father who abandoned him as a child, Fabian, worked undercover against the Nazis during World War II and that his mother, Gretchen, was a Nazi collaborator. Jorge is reunited with his dad after Fabian learns that Gretchen is under threat from a “domestic far-right-wing political group with neo-Nazi elements.” These two seemingly incongruent storylines eventually intersect in a thoroughly unbelievable manner. Hilliard’s literary ambition is certainly impressive. Over the course of this book, he constructs a generationally sweeping tale and attempts to bind its disparate parts together with a single overarching theme: the corrosive power of family secrets. However, the story is excessively and frustratingly complex—there are far too many subplots, and the author’s seemingly endless cast of characters becomes a burden to the reader. As a result, the novel reads like a collection of short stories that seem to be connected by only the slightest of threads. Also, the author practically buries the reader under mountains of detail that are incidental to the story at hand. At one point, for example, he provides the biographies of a company’s board members; later on, he describes, with excruciating thoroughness, an official document that must be filed with the Securities and Exchange Commission. To make matters worse, the prose doesn’t generate any feelings of authentic passion; instead of a vibrant human drama, it feels more like a still-life painting. This passage from a sex scene, for instance, somehow manages to be simultaneously lurid and mechanical: “ ‘Give it to me hard!...Piledrive me!...Ahhhhhhh!’ And then it was over. The sexual fireworks he’d just experienced set a really high bar for the pyrotechnics to come outside.”

A plodding and confusing story that’s hampered by a lack of believability and awkward prose.

Pub Date: Nov. 16, 2019

ISBN: 978-1-977217-59-2

Page Count: 332

Publisher: Outskirts Press

Review Posted Online: Jan. 31, 2020

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SUMMER ISLAND

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

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

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LAST ORDERS

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.

Pub Date: April 5, 1996

ISBN: 0-679-41224-7

Page Count: 304

Publisher: Knopf

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Feb. 15, 1996

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