A cunningly constructed if didactic debut that probes under a big issue—how parents and the justice system deal with a boy ``touched'' by a neighborhood child molester. Opening in the voice of Linda, the guilt-stricken mother of the molested boy, Robbie, the novel at first seems destined to be a mediocre Movie-of-the-Week vehicle. But the Betty Crocker mold soon breaks when we discover that Linda can't think of the neighbor, Jerry, touching Robbie without feeling her own secret lover's hand. Soon we're seeing how the flaws of a marriage seed the crime. Pregnant and married to Ken when she was 16, Linda thinks of herself as selfless, yet she pursues an affair during the hours when she should be supervising Robbie. Ken calls himself responsible because he's calm and steady—but he's an utterly remote husband and father. And Robbie's older brother, Danny, thinks he's doing his duty when he attacks Jerry in front of the neighbors, just as Linda's angry guilt drives her to scream ``Child molester!'' to the world and then press for Jerry's arrest, regardless of what might be best for Robbie. The core of the story is a portrait of Jerry and his wife, Jeanette: a couple with three daughters and a seemingly balanced life. Jerry's arrest reveals a man who can't help what he is, and a woman who discovers that forgiveness and unconditional love aren't enough. When Jerry pleads guilty rather than see Robbie cross-examined, Jeanette realizes that Jerry's love for the boy is actually, in a twisted way, truer than anything he feels for her. Commercial but with literary pretensions, this is a work flawed, ironically, by a writer exercising too much control and calculation on his material and by occasional lecturing. These are flaws, though, more than counterbalanced by Campbell's unconventional treatment of a subject that is usually a springboard for cheap melodrama.
Pub Date: April 15, 1996
ISBN: 0-553-09996-5
Page Count: 304
Publisher: Bantam
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 15, 1996
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
Not as thematically ambitious as Whitehead’s earlier work, but a whole lot of fun to read.
Another surprise from an author who never writes the same novel twice.
Though Whitehead has earned considerable critical acclaim for his earlier work—in particular his debut (The Intuitionist, 1999) and its successor (John Henry Days, 2001)—he’ll likely reach a wider readership with his warmest novel to date. Funniest as well, though there have been flashes of humor throughout his writing. The author blurs the line between fiction and memoir as he recounts the coming-of-age summer of 15-year-old Benji Cooper in the family’s summer retreat of New York’s Sag Harbor. “According to the world, we were the definition of paradox: black boys with beach houses,” writes Whitehead. Caucasians are only an occasional curiosity within this idyll, and parents are mostly absent as well. Each chapter is pretty much a self-contained entity, corresponding to a rite of passage: getting the first job, negotiating the mysteries of the opposite sex. There’s an accident with a BB gun and plenty of episodes of convincing someone older to buy beer, but not much really happens during this particular summer. Yet by the end of it, Benji is well on his way to becoming Ben, and he realizes that he is a different person than when the summer started. He also realizes that this time in his life will eventually live only in memory. There might be some distinctions between Benji and Whitehead, though the novelist also spent his youthful summers in Sag Harbor and was the same age as Benji in 1985, when the novel is set. Yet the first-person narrator has the novelist’s eye for detail, craft of character development and analytical instincts for sharp social commentary.
Not as thematically ambitious as Whitehead’s earlier work, but a whole lot of fun to read.Pub Date: April 28, 2009
ISBN: 978-0-385-52765-1
Page Count: 288
Publisher: Doubleday
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 1, 2009
BOOK TO SCREEN
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