LOSING ISAIAH

Margolis attempts to follow the success of novels like The Good Mother and Kramer vs. Kramer with this domestic melodrama featuring a two-year-old black child, his birth mother from the projects, and his white, well-to-do adoptive parents—but with stock characters and an aloof, schematic writing style, his intriguing premise arrives still-born. Margaret Lewin loves her adoptive son, Isaiah, even more passionately than she does her natural daughter, Hannah, probably because of the unique, magical way Isaiah joined the family. A volunteer baby-holder in a Manhattan hospital, whose job was to lavish physical affection on abandoned, drug-addicted infants, Margaret fell in love with tiny Isaiah's determination to get what he needed—first through unceasing screaming, and now, at nearly three, through tantrums that could cause Attila the Hun to cower. Leaving Isaiah to the care of a children's center and an au pair while she pursues her career as a photographer's representative (and her husband, Charles, pursues a leggy female employee at his own graphic-arts company), Margaret alternately worries over possible lingering aftereffects from Isaiah's prenatal drug addiction and swoons in relief at having rescued the little boy from life with a crack-addicted, illiterate, utterly negligent mother. Little does Margaret know that over the past two years Isaiah's mother, Selma Richards, has found religion, weaned herself from drugs, and obtained a job as a nanny on the Upper East Side in the fierce hope of reclaiming her lost son. When Selma files suit for custody, the lives of all concerned begin to crumble in the cruel light of media coverage, while the best interests of Isaiah himself are nearly forgotten in the clash of emotions. Shifting from Margaret's to Selma's to Charles's to Isaiah's and other points of view, Margolis (False Faces, 1991, etc.) prevents the reader from identifying deeply with any one side, making this more an abstract intellectual exercise than a compelling work of fiction.

Pub Date: Oct. 7, 1993

ISBN: 1-56282-807-X

Page Count: 352

Publisher: Hyperion

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 15, 1993

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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 20, 2010

Kirkus Reviews Issue: Feb. 15, 1996

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Dated sermonizing on career versus motherhood, and conflict driven by characters’ willed helplessness, sap this tale of...

FIREFLY LANE

Lifelong, conflicted friendship of two women is the premise of Hannah’s maudlin latest (Magic Hour, 2006, etc.), again set in Washington State.

Tallulah “Tully” Hart, father unknown, is the daughter of a hippie, Cloud, who makes only intermittent appearances in her life. Tully takes refuge with the family of her “best friend forever,” Kate Mularkey, who compares herself unfavorably with Tully, in regards to looks and charisma. In college, “TullyandKate” pledge the same sorority and major in communications. Tully has a life goal for them both: They will become network TV anchorwomen. Tully lands an internship at KCPO-TV in Seattle and finagles a producing job for Kate. Kate no longer wishes to follow Tully into broadcasting and is more drawn to fiction writing, but she hesitates to tell her overbearing friend. Meanwhile a love triangle blooms at KCPO: Hard-bitten, irresistibly handsome, former war correspondent Johnny is clearly smitten with Tully. Expecting rejection, Kate keeps her infatuation with Johnny secret. When Tully lands a reporting job with a Today-like show, her career shifts into hyperdrive. Johnny and Kate had started an affair once Tully moved to Manhattan, and when Kate gets pregnant with daughter Marah, they marry. Kate is content as a stay-at-home mom, but frets about being Johnny’s second choice and about her unrealized writing ambitions. Tully becomes Seattle’s answer to Oprah. She hires Johnny, which spells riches for him and Kate. But Kate’s buttons are fully depressed by pitched battles over slutwear and curfews with teenaged Marah, who idolizes her godmother Tully. In an improbable twist, Tully invites Kate and Marah to resolve their differences on her show, only to blindside Kate by accusing her, on live TV, of overprotecting Marah. The BFFs are sundered. Tully’s latest attempt to salvage Cloud fails: The incorrigible, now geriatric hippie absconds once more. Just as Kate develops a spine, she’s given some devastating news. Will the friends reconcile before it’s too late?

Dated sermonizing on career versus motherhood, and conflict driven by characters’ willed helplessness, sap this tale of poignancy.

Pub Date: Feb. 1, 2008

ISBN: 978-0-312-36408-3

Page Count: 496

Publisher: St. Martin's

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Nov. 1, 2007

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