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THE FOREVER YEAR

A lackluster entry in the men-who-write-mush category, which Nicholas Sparks (see below) still has pretty much to himself.

Can love last forever? Is forever longer than this interminable first novel?

After his wife dies, Mickey Sienna rattles around in his suburban New Jersey colonial. Physically frail but mentally sharp, the former stockbroker still trades online, but when he escapes an accidental kitchen fire, his grown kids put in their two cents. Maybe dear old dad should be parked in an assisted-living facility where he can’t hurt himself. Or at least sell the house and buy a smaller place. Yes, says Mickey, but what about the memories? Get out your handkerchiefs, because here come more than 50 years of marriage to saintly but dull Dorothy. They had some swell kids, too: Darlene, Matty, Denise, and a surprise fourth baby, Jesse, who’s 20 years younger than Darlene and trying to figure out why he gets along better with his nieces and nephews than with his siblings. (Hint: he’s amazingly immature.) This strapping toddler is now 32 and only just beginning to realize that the world does not revolve around him. But why? He thinks and thinks. “I was too young for one group and too old for the other. I was a man without a generation.” Jesse is a sensitive soul who’s wary of making a commitment but tired of playing the field, what with all that emotional scar tissue on his metaphorical heart. Yes, Jesse is a thoroughly modern Millie for the millennium, a man with genuine issues, who’s not afraid to talk about his feelings at great length, as if a talk-show audience were hanging on every word. A multitude of supporting characters give their opinions and add a few details about what happened when. Then there’s one last gasp from Dad, who explains about his long-lost love; he still loves her and she still loves ice cream. The message? Gather ye rosebuds, of course.

A lackluster entry in the men-who-write-mush category, which Nicholas Sparks (see below) still has pretty much to himself.

Pub Date: May 19, 2003

ISBN: 0-765-30405-8

Page Count: 320

Publisher: Forge

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: March 1, 2003

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TO KILL A MOCKINGBIRD

A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.

Pub Date: July 11, 1960

ISBN: 0060935464

Page Count: 323

Publisher: Lippincott

Review Posted Online: Oct. 7, 2011

Kirkus Reviews Issue: July 1, 1960

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LONESOME DOVE

A NOVEL (SIMON & SCHUSTER CLASSICS)

This large, stately, and intensely powerful new novel by the author of Terms of Endearment and The Last Picture Show is constructed around a cattle drive—an epic journey from dry, hard-drinking south Texas, where a band of retired Texas Rangers has been living idly, to the last outpost and the last days of the old, unsettled West in rough Montana. The time is the 1880s. The characters are larger than life and shimmer: Captain Woodrow Call, who leads the drive, is the American type of an unrelentingly righteous man whose values are puritanical and pioneering and whose orders, which his men inevitably follow, lead, toward the end, to their deaths; talkative Gus McCrae, Call's best friend, learned, lenient, almost magically skilled in a crisis, who is one of those who dies; Newt, the unacknowledged 17-year-old son of Captain Call's one period of self-indulgence and the inheritor of what will become a new and kinder West; and whores, drivers, misplaced sheriffs and scattered settlers, all of whom are drawn sharply, engagingly, movingly. As the rag-tag band drives the cattle 3,000 miles northward, only Call fails to learn that his quest to conquer more new territories in the West is futile—it's a quest that perishes as men are killed by natural menaces that soon will be tamed and by half-starved renegades who soon will die at the hands of those less heroic than themselves. McMurtry shows that it is a quest misplaced in history, in a landscape that is bare of buffalo but still mythic; and it is only one of McMurtry's major accomplishments that he does it without forfeiting a grain of the characters' sympathetic power or of the book's considerable suspense. This is a masterly novel. It will appeal to all lovers of fiction of the first order.

Pub Date: June 1, 1985

ISBN: 068487122X

Page Count: 872

Publisher: Simon & Schuster

Review Posted Online: Sept. 30, 2011

Kirkus Reviews Issue: May 15, 1985

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