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THE GROWN UPS

Name: THE GROWN UPS
Author: Robin Antalek
ISBN: 978-0-06-230248-9

by Robin Antalek ‧ RELEASE DATE: Jan. 27, 2015

The plot, like the protagonists themselves, wanders to adulthood in this middling coming-of-age tale.

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Over a period of 15 years, a group of affluent teenagers grows up amid parental crises and misfortunes of their own making.

In the summer of 1997 in Rye, New York, 15-year-old Sam looks through the box Suzie Epstein hands him. In it are photos, taken by Suzie's father, of all the mothers of the neighborhood, smiling, in swimsuits, perhaps conquests of Mr. Epstein, perhaps not. It's the summer of unraveling: The Epsteins, after public confrontations, move to suburban Boston to start anew, and Sam's mother simply leaves, abandoning Sam and his father to companionable bachelorhood. Despite their first-love–fueled fumblings, Sam and Suzie lose touch. Suzie, reeling from caring for her younger brothers once her father permanently decamps and her mother befriends a vodka bottle, cuts all ties with her humiliating past, hoping to escape to college early. Sam takes up with Suzie's best friend, Bella, a relationship that continues through college in an undefined, convenient pattern of long weekends and longer separations. When Bella's mother dies, they all return to Rye, to the pot fugue of Peter Chang's basement, and even Suzie returns, shockingly on the arm of Sam's older, medical-student brother. Sam is unstrung by Suzie and his brother's relationship, and, coupled with a failing GPA, this ushers in a decade of drifting for Sam, a disappointment to everyone, including Bella, who later sacrifices everything for a demanding poet. Antalek's narrative, split among Sam, Suzie and Bella, is disconnected from time and place (they are millennials though could be from any of the past four decades, there are so few details) so the focus rests entirely on their opaque emotional struggles, leaving neither plot not character to drive the story.

The plot, like the protagonists themselves, wanders to adulthood in this middling coming-of-age tale.

Pub Date: Jan. 27, 2015

ISBN: 978-0-06-230248-9

Page Count: 384

Publisher: Morrow/HarperCollins

Review Posted Online: Dec. 20, 2014

Kirkus Reviews Issue: Jan. 1, 2015

Categories:

LITERARY FICTION

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WITHOUT FAIL

From the Jack Reacher series , Vol. 6

by Lee Child ‧ RELEASE DATE: May 1, 2001

Relentlessly suspenseful and unexpectedly timely: just the thing for Dick Cheney’s bedside reading wherever he’s keeping...

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When the newly elected Vice President’s life is threatened, the Secret Service runs to nomadic soldier-of-fortune Jack Reacher (Echo Burning, 2001, etc.) in this razor-sharp update of The Day of the Jackal and In the Line of Fire that’s begging to be filmed.

Why Reacher? Because M.E. Froelich, head of the VP’s protection team, was once a colleague and lover of his late brother Joe, who’d impressed her with tales of Jack’s derring-do as an Army MP. Now Froelich and her Brooks Brothers–tailored boss Stuyvesant have been receiving a series of anonymous messages threatening the life of North Dakota Senator/Vice President–elect Brook Armstrong. Since the threats may be coming from within the Secret Service’s own ranks—if they aren’t, it’s hard to see how they’ve been getting delivered—they can’t afford an internal investigation. Hence the call to Reacher, who wastes no time in hooking up with his old friend Frances Neagley, another Army vet turned private eye, first to see whether he can figure out a way to assassinate Armstrong, then to head off whoever else is trying. It’s Reacher’s matter-of-fact gift to think of everything, from the most likely position a sniper would assume at Armstrong’s Thanksgiving visit to a homeless shelter to the telltale punctuation of one of the threats, and to pluck helpers from the tiny cast who can fill the remaining gaps because they aren’t idiots or stooges. And it’s Child’s gift to keep tightening the screws, even when nothing’s happening except the arrival of a series of unsigned letters, and to convey a sense of the blank impossibility of guarding any public figure from danger day after highly exposed day, and the dedication and heroism of the agents who take on this daunting job.

Relentlessly suspenseful and unexpectedly timely: just the thing for Dick Cheney’s bedside reading wherever he’s keeping himself these days.

Pub Date: May 1, 2001

ISBN: 0-399-14861-2

Page Count: 384

Publisher: Putnam

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: March 15, 2002

Categories:

LITERARY FICTION

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THE SECRET
by Lee Child & Andrew Child

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NO PLAN B
by Lee Child & Andrew Child

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BETTER OFF DEAD
by Lee Child & Andrew Child

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THE SECRET HISTORY

by Donna Tartt ‧ RELEASE DATE: Sept. 16, 1992

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The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.