A medical first: a male writer with Bridget Jones Disease.
Bright lights, big city, single guy: tedious debut from performer and fringe TV personality Mebus.
Dating in New York is really weird, especially when you’re, like, totally haunted by memories of the first woman you ever really loved. She who shall be known as the Eater of Souls had her faults, but there was nothing quite like those lazy mornings in bed with her. Still, David realizes he just isn’t happy and breaks up via e-mail. Babes of Manhattan, brace yourself: this gutless wonder is a free man and he’s looking for love! Mostly in the wrong places, of course, and talking a mile a minute. Does someone with such a talent for soliloquies actually need anyone to listen? Is anyone listening? David sure hopes he doesn’t pine for the wooden mannequins in the 86th Street Victoria’s Secret window for the rest of his life. Ha-ha. Ha-ha. Get it? Pine. Wooden. But they’re made of plaster or something. Ha-ha. Did he say that? No. The rat-a-tat-tat of postadolescent one-liners has a deadening, woodpecker rhythm—and speaking of peckers, David’s little mister is lonely. Whoops, did he say that? Huh-uh. But he says a lot of stuff like that, channeling Beavis and Butthead through a downtown state of mind. Doing shots in dive bars with best buds is fun, but not as much fun as getting laid. Hey, how about her, the Goddess? Yeah. Wow. Maybe she wants to listen to David talk. She looks nice. She looks even nicer when he’s really, really drunk. But then, so do the mannequins at the 86th Street Victoria’s Secret. Life sucks. Love is hell.
A medical first: a male writer with Bridget Jones Disease.Pub Date: Feb. 1, 2004
ISBN: 1-4013-5204-9
Page Count: 400
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 2003
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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