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THE NEWSPAPERMAN

A unique novella that offers a passionate, if somewhat incoherent, defense of quality journalism.

In a new book by Nudo (The Millionaire’s Cross, 2014, etc.), a man investigates a local publication run by staffers who may be more dangerous than they seem.

Seth Kesler, who works in advertising, is “the last of a dying breed” of people who still love reading high-quality print journalism. So he’s intrigued when he meets Cedrick, an eccentric yet friendly old-fashioned newspaper hawker, outside his office building one morning. The C-U Journal, a long-defunct daily serving the Champagne-Urbana region of Illinois, has recently been purchased by Richard W. Fields, a media mogul who’s buying up local papers across the country. Seth, disenchanted by the fact that shallow internet click-bait is replacing quality journalism across the United States, is initially pleased to read a real newspaper. But the publication’s standards decline rapidly, resulting in sensationalized, poorly written, and likely inaccurate stories that seem aimed to titillate rather than tell the truth. Just as disturbingly, Cedrick proves himself to be quite capable of violence when crossed; in broad daylight, he brutally attacks some disrespectful teens who later mysteriously disappear—and Seth worries that they may have met a worse fate. Aided by his wife, his co-worker, and a local journalism professor, Seth investigates Cedrick, Fields, and the shady group of characters who churn out the C-U Journal, which he begins to see as a destructive force in the community. As Seth becomes increasingly passionate about defending his cause, however, he realizes that the C-U Journal staff may be a threat to his life. This quick, readable novella’s enthusiastic advocacy of good journalism feels very relevant in today’s era of “fake news.” Seth’s alarm at his friends’ and family’s reliance on unreliable sources (such as trending Twitter terms) rings true, as does the fact that the C-U Journal becomes widely read for its calculated, salacious content rather than for quality reporting. The C-U Journal staffers are more like horror-movie characters than denizens of realistic fiction—they talk and act bizarrely, enact frequent violence with theatrical élan, and experience either delayed consequences for their actions or none at all; for instance, no one beside Seth seems to notice Cedrick’s aggressive public behavior toward the teens. Seth is so calm and reasonable that it’s hard to determine what kind of reality he shares with the C-U Journal people. Indeed, the text leaves some major questions unanswered: Why are the local police so incompetent at investigating crimes when the culprits seem obvious to a casual observer? Why would Seth, after suspecting murder and witnessing terrible violence by C-U Journal staffers, accept an invitation to enter their building unaccompanied? If Fields is meant to serve as a symbol of the evils of modern journalism, why does he refuse to publish online, where some of the worst journalism trends of the past few years have festered? Although this work is certainly an entertaining read, these plot uncertainties make its message a murky one.

A unique novella that offers a passionate, if somewhat incoherent, defense of quality journalism.

Pub Date: Jan. 1, 2018

ISBN: 978-1-981783-28-1

Page Count: 166

Publisher: CreateSpace

Review Posted Online: March 20, 2018

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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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