A distractingly uneven compendium of 12 stories from the generally unpredictable author of two previous collections (The News of the World, 1987; Plan B for the Middle Class, 1992). Carlson's tales are narrated in a flat emotionless voice that's often deliberately at variance with their unusual, not to say outrageous, premises. For example, there's the major-league ballplayer whose line drives have accidentally killed 11 people, and whose personality is drastically altered by his frustrating celebrity status (``Zanduce at Second''). Or the convict whose incarceration stimulates his inventive skills (``A Note on the Type''), or the military leader who debates to himself the pros and cons of dumping boiling oil on invading Visigoths (``What We Wanted to Do''). Several pieces, including ``The House Goes Up,'' simply fail to develop their conceits in fruitful ways. And many are dominated by attention-getting specifics that are at best incidental to the story's main thrust—like the glorious funny- sleazy description of a wrestling show (``Mack's Mat Matches'') in ``Dr. Smile,'' or the amusing account of a seduction in ``Nightcap,'' which doesn't fit very well with the maudlin, underdeveloped story of unrequited love that contains it. Conversely, Carlson reinvents with deadpan panache the hoary old horror chestnut about the escaped maniac who barely misses slaughtering teenaged lovers parking (``The Chromium Hook''). ``Oxygen'' plumbs level after level of emotion and understanding in the richly imagined tale of a college kid whose summer job delivering oxygen to medical patients teaches him more than he wants to know about sex, death, and the baffling permutations of simple human need. And ``The Prisoner of Bluestone'' portrays with deeply moving simplicity the confusion and passion of an autoworker desperate for communication with the wife and daughter who he feels have moved beyond him. An overall disappointment, but those last two terrific stories make it clear that we'd better keep reading Carlson. (First serial to Esquire)
Pub Date: May 1, 1997
ISBN: 0-393-04068-2
Page Count: 256
Publisher: Norton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 1997
Nobody writing today surpasses the precocious Waters’s virtuosic handling of narrative complexity and thickly textured...
Imagine a university-educated lesbian Charles Dickens with a similarly keen eye for mendacity and melodrama, and you’ll have some idea of the pleasures lurking in Waters’s impudent revisionist historicals: Tipping the Velvet (1999), Affinity (2000), and now this richly woven tale of duplicity, passion, and lots of other good stuff.
It begins as the narrative of 17-year-old Susan Trinder, an orphan resident of the criminal domicile run by Hogarthian Grace Sucksby, a Fagin-like “farmer” of discarded infants and den-mother to an extended family of “fingersmiths” (i.e., pickpockets) and assorted confidence-persons. One of the latter, Richard Rivers (a.k.a. “Gentleman”), engages Susan in an elaborate plot to fleece wealthy old Mr. Lilly, a connoisseur of rare books—as lady’s maid “Susan Smith” to Lilly’s niece and ward Maude, a “simple, natural” innocent who will be married off to “Mr. Rivers,” then disposed of in a madhouse, while the conspirators share her wealth. Maidservant and mistress grow unexpectedly close, until Gentleman’s real plan—a surprise no reader will see coming—leads to a retelling of events we’ve just witnessed, from a second viewpoint—which reveals the truth about Mr. Lilly’s bibliomania, and discloses to a second heroine that “Your life was not the life that you were meant to live.” (Misdirections and reversals are essential components of Waters’s brilliant plot, which must not be given away.) Further intrigues, escapes, and revelations climax when Susan (who has resumed her place as narrator) returns from her bizarre ordeal to Mrs. Sucksby’s welcoming den of iniquity, and a final twist of the knife precipitates another crime and its punishment, astonishing discoveries about both Maude and Susan (among others), and a muted reconciliation scene that ingeniously reshapes the conclusion of Dickens’s Great Expectations.
Nobody writing today surpasses the precocious Waters’s virtuosic handling of narrative complexity and thickly textured period detail. This is a marvelous novel.Pub Date: Feb. 4, 2002
ISBN: 1-57322-203-8
Page Count: 493
Publisher: Riverhead
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 2001
The queen of Texas melodrama takes metaphor perhaps a step too far as she pits her heart-transplant-patient heroine against a serial killer obsessed with stopping her new heart. Having as a child survived Hodgkin's disease, her parents' double suicide, and life in a series of substandard foster homes, feisty redhead Cat Delaney is more than able to wisecrack her way through a heart transplant operation at the peak of her career. Famous as a star of the television soap opera Passages, Cat experiences both a literal and figurative change of heart after her surgery, abruptly opting to drop her acting career, move to San Antonio, and create a local news segment aimed at matching abandoned children with good adoptive homes. She breaks off an affair with Dr. Dean Spicer, her wealthy cardiologist, and falls madly in love with Alex Pierce (``His tongue was nimble, his appetite carnal''), a Houston cop turned mystery writer whose sudden appearance in her life may not be coincidental. When newspaper articles describing murders of other heart transplantees begin appearing in Cat's mailbox, she realizes she's being stalked by a lunatic obsessed with stilling the heart of a loved one who may or may not be her donor. As the anniversary of Cat's transplant nears, the threat of violence grows greater. But from which direction comes the danger?: From her hostile secretary, possibly related to a woman who was murdered on the day of her transplant? From the stepfather of one of Cat's orphan clients, whose greatest rival may have been Cat's donor? Or (horrors) from sexy Alex, whose past holds more secrets than she could ever guess? Highly schematic and hastily sketched, this nevertheless provides a satisfying dose of Brown's (Where There's Smoke, 1993, etc.) famously raunchy sex scenes (`` `I want to know I'm with a man. I want to be taken. I want—' `You want to be fucked.' ''), and a certain raw enthusiasm that will no doubt increase her legion of fans. (First printing of 300,000; Literary Guild main selection)
Pub Date: May 2, 1994
ISBN: 0-446-51656-2
Page Count: 432
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 1994
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