In this historical romance, an intriguing idea is diminished by clichÇd writing and a main character who is at first witless and insensitive and then almost lifeless. Hylton (Summer of the Flamingoes, 1991, etc.) starts out auspiciously with the story of Laura Levinson-Gore. In the 1920s, fresh out of finishing school, this daughter of a social-climbing American mother and a British father sails from England to Egypt with her mother and younger sister. On board she meets Egyptian prince Ahmed Hassan Farag, an Oxford graduate returning home. The two share a few kisses, but Ahmed has been promised to marry someone else and insists that their cultures will not accept each other. Although she has been rushed into an engagement with a man from a noble family, Laura visits Ahmed dressed in an Egyptian costume for a masquerade ball and pouts, ``I can look just as Egyptian as you can.'' He still resists, but while in Egypt she tracks Ahmed down and runs off with him. En route to see his parents and ask for their blessing, a bomb kills Ahmed but leaves the pregnant Laura alive. When her mother insists that she give the illegitimate child up for adoption, Laura accepts an offer from Ahmed's parents to live in a secluded palace. Later, isolated in the desert and then married to a cruel Syrian cousin of Ahmed's, she retreats into herself. Laura then chooses to send her daughter Rosetta to board at a London school where, naturally, she encounters the upper-crust offspring of her mother's long-lost friends and relatives. Hylton's descriptions of both people and places have a numbing vagueness to them: Ahmed is ``a splendid example of young Egyptian manhood.'' What aspires to be an examination of cultural difference instead disintegrates into a routine romance with a poorly painted, if exotic, setting.
Pub Date: July 19, 1994
ISBN: 0-312-11004-9
Page Count: 432
Publisher: St. Martin's
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 15, 1994
BOOK REVIEW
BOOK REVIEW
A strict report, worthy of sympathy.
A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.
"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….
A strict report, worthy of sympathy.Pub Date: June 15, 1951
ISBN: 0316769177
Page Count: -
Publisher: Little, Brown
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: June 15, 1951
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
APPRECIATIONS
Genetically engineered dinosaurs run amok in Crichton's new, vastly entertaining science thriller. From the introduction alone—a classically Crichton-clear discussion of the implications of biotechnological research—it's evident that the Harvard M.D. has bounced back from the science-fantasy silliness of Sphere (1987) for another taut reworking of the Frankenstein theme, as in The Andromeda Strain and The Terminal Man. Here, Dr. Frankenstein is aging billionaire John Hammond, whose monster is a manmade ecosystem based on a Costa Rican island. Designed as the world's ultimate theme park, the ecosystem boasts climate and flora of the Jurassic Age and—most spectacularly—15 varieties of dinosaurs, created by elaborate genetic engineering that Crichton explains in fascinating detail, rich with dino-lore and complete with graphics. Into the park, for a safety check before its opening, comes the novel's band of characters—who, though well drawn, double as symbolic types in this unsubtle morality play. Among them are hero Alan Grant, noble paleontologist; Hammond, venal and obsessed; amoral dino-designer Henry Wu; Hammond's two innocent grandchildren; and mathematician Ian Malcolm, who in long diatribes serves as Crichton's mouthpiece to lament the folly of science. Upon arrival, the visitors tour the park; meanwhile, an industrial spy steals some dino embryos by shutting down the island's power—and its security grid, allowing the beasts to run loose. The bulk of the remaining narrative consists of dinos—ferocious T. Rex's, voracious velociraptors, venom-spitting dilophosaurs—stalking, ripping, and eating the cast in fast, furious, and suspenseful set-pieces as the ecosystem spins apart. And can Grant prevent the dinos from escaping to the mainland to create unchecked havoc? Though intrusive, the moralizing rarely slows this tornado-paced tale, a slick package of info-thrills that's Crichton's most clever since Congo (1980)—and easily the most exciting dinosaur novel ever written. A sure-fire best-seller.
Pub Date: Nov. 7, 1990
ISBN: 0394588169
Page Count: 424
Publisher: Knopf
Review Posted Online: Sept. 21, 2011
Kirkus Reviews Issue: Oct. 15, 1990
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