RICH BOY

Name: RICH BOY
Author: Sharon Pomerantz
ISBN: 978-0-446-56318-5

by Sharon Pomerantz ‧ RELEASE DATE: Aug. 2, 2010

Pomerantz’s tale could use a car chase or an explosion, something to relieve its earnestness. The proceedings lack the...

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A pleasant if insubstantial rags-to-yuppiedom saga.

Robert Vishniak isn’t quite the dictionary-definition aspirational young lad of many a Great Jewish Novel, but neither is he a shlimazel Alvy Singer type. In the opening pages of Pomerantz’s debut, we find him in the fraught milieu of Northeast Philadelphia, with “miles and miles of Jews, families of four, five, and more packed into long, solid brick rows,” an Italian or two thrown in for variety. Having moved in after years with the in-laws, Stacia Vishniak is keenly aware of expenses social as well as fiscal, and she “believed that hearing what things cost was good for children, like castor oil.” She’s right, though not without qualification. The years roll by, years of dogged competition with richer cousins, surviving first crushes and engineering furtive grasps and glimpses, and Robert finds himself paying attention to numbers, particularly the lottery number that will send him either to Vietnam or to Greenwich Village. The ’70s turn into the ’80s, hippies devolve into yuppies, and Robert suddenly has everything he ever wanted and more, which is never enough. Greed may have clarified things for Gordon Gekko, but it just makes Robert pensive, Patek Philippe watch and all (“waterproof, and platinum, with a large blue face”). What goes up must come down, of course, as Robert and his more ambitious brother Barry discover come that bad stock-market day of 1987—upon which, bless her heart, the much-put-upon Stacia, always an anchor and moral center, has the last laugh, for while all around her have been flying high, she’s been doing the sensible, boring things that keep civilization chugging along.

Pomerantz’s tale could use a car chase or an explosion, something to relieve its earnestness. The proceedings lack the pointed humor of a Joshua Then and Now or the pointed ironies of a Gatsby, but the tale is competent and readable all the same.

Pub Date: Aug. 2, 2010

ISBN: 978-0-446-56318-5

Page Count: 528

Publisher: Twelve

Review Posted Online: June 2, 2010

Kirkus Reviews Issue: June 15, 2010

Categories:

GENERAL FICTION

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SUMMER ISLAND

by Kristin Hannah ‧ RELEASE DATE: March 1, 2001

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with...

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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

Categories:

GENERAL FICTION

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LAST ORDERS

by Graham Swift ‧ RELEASE DATE: April 5, 1996

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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.