Another women-through-the-decades drama from Jaffe (The Road Taken, 2000, etc.), this time based on a premise from a newspaper article she wrote in 1963.

The original Herald-Tribune story chronicled the travails of single “girls” forced to share tiny, expensive Manhattan apartments while they held down low-paying jobs and hunted for husbands. The level of Jaffe’s inventiveness in her fictional elaboration can be judged by the fact that she recycles many of the article’s details. Leigh Owen, a 23-year-old secretary at “the powerful Star Management talent agency,” can afford the outrageous $200 monthly rent on an Upper East Side one-bedroom apartment only if she gets three roommates. She recruits fellow Pembroke grad Cady Fineman, sexy stewardess Vanessa Preet, and dull doctor’s receptionist Susan Brown. Jaffe sketches her characters with broad strokes: Leigh is smart, self-possessed, ambitious; much-older Star partner David Graham encourages her to become an agent. Emotionally needy Cady teaches high-school English, stagnates in a long-term affair with a student’s father, Paul, and is always being bailed out of financial trouble by her mother. Vanessa is casually promiscuous. Susan is a dreary drag, and the other three don’t like her, though they’re guilt-ridden when it seems their hostility has driven her to suicide. Shortly thereafter, the remaining roommates go their separate ways. Pregnant Vanessa marries a lawyer she doesn’t love and relocates in California. Cady moves into a fancy apartment paid for by Paul, whom everyone but Cady realizes will never leave his wife. Leigh marries David, has perfect children and a perfect life. All stay in touch and also remain friends with Charlie Rackley, a platonic pal from their roommate days who maintains his crush on Vanessa and eventually clears up the mystery of Susan’s death. It’s very stock stuff, but with the exception of some embarrassing scene-setting paragraphs (“The decade that was to be known as the ‘Me Decade’ had begun and people wanted it all”), Jaffe handles it adequately.

For undemanding readers.

Pub Date: April 1, 2003

ISBN: 0-525-94713-2

Page Count: 384

Publisher: Dutton

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Jan. 1, 2003

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While a few weeks ago it seemed as if Praeger would have a two month lead over Dutton in their presentation of this Soviet best seller, both the "authorized" edition (Dutton's) and the "unauthorized" (Praeger's) will appear almost simultaneously. There has been considerable advance attention on what appears to be as much of a publishing cause celebre here as the original appearance of the book in Russia. Without entering into the scrimmage, or dismissing it as a plague on both your houses, we will limit ourselves to a few facts. Royalties from the "unauthorized" edition will go to the International Rescue Committee; Dutton with their contracted edition is adhering to copyright conventions. The Praeger edition has two translators and one of them is the translator of Doctor Zhivago Dutton's translator, Ralph Parker, has been stigmatized by Praeger as "an apologist for the Soviet regime". To the untutored eye, the Dutton translation seems a little more literary, the Praeger perhaps closer to the rather primitive style of the original. The book itself is an account of one day in the three thousand six hundred and fifty three days of the sentence to be served by a carpenter, Ivan Denisovich Shukhov. (Solzhenitsyn was a political prisoner.) From the unrelenting cold without, to the conditions within, from the bathhouse to the latrine to the cells where survival for more than two weeks is impossible, this records the hopeless facts of existence as faced by thousands who went on "living like this, with your eyes on the ground". The Dutton edition has an excellent introduction providing an orientation on the political background to its appearance in Russia by Marvin Kalb. All involved in its publication (translators, introducers, etc.) claim for it great "artistic" values which we cannot share, although there is no question of its importance as a political and human document and as significant and tangible evidence of the de-Stalinization program.

Pub Date: June 15, 1963

ISBN: 0451228146

Page Count: 181

Publisher: Praeger

Review Posted Online: Oct. 5, 2011

Kirkus Reviews Issue: June 15, 1963

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Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the...


Hannah’s sequel to Firefly Lane (2008) demonstrates that those who ignore family history are often condemned to repeat it.

When we last left Kate and Tully, the best friends portrayed in Firefly Lane, the friendship was on rocky ground. Now Kate has died of cancer, and Tully, whose once-stellar TV talk show career is in free fall, is wracked with guilt over her failure to be there for Kate until her very last days. Kate’s death has cemented the distrust between her husband, Johnny, and daughter Marah, who expresses her grief by cutting herself and dropping out of college to hang out with goth poet Paxton. Told mostly in flashbacks by Tully, Johnny, Marah and Tully’s long-estranged mother, Dorothy, aka Cloud, the story piles up disasters like the derailment of a high-speed train. Increasingly addicted to prescription sedatives and alcohol, Tully crashes her car and now hovers near death, attended by Kate’s spirit, as the other characters gather to see what their shortsightedness has wrought. We learn that Tully had tried to parent Marah after her father no longer could. Her hard-drinking decline was triggered by Johnny’s anger at her for keeping Marah and Paxton’s liaison secret. Johnny realizes that he only exacerbated Marah’s depression by uprooting the family from their Seattle home. Unexpectedly, Cloud, who rebuffed Tully’s every attempt to reconcile, also appears at her daughter’s bedside. Sixty-nine years old and finally sober, Cloud details for the first time the abusive childhood, complete with commitments to mental hospitals and electroshock treatments, that led to her life as a junkie lowlife and punching bag for trailer-trash men. Although powerful, Cloud’s largely peripheral story deflects focus away from the main conflict, as if Hannah was loath to tackle the intractable thicket in which she mired her main characters.

Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the pages turning even as readers begin to resent being drawn into this masochistic morass.

Pub Date: April 23, 2013

ISBN: 978-0-312-57721-6

Page Count: 416

Publisher: St. Martin's

Review Posted Online: Feb. 18, 2013

Kirkus Reviews Issue: March 1, 2013

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