Seattle poet/essayist Wong's second novel (after Homebase, 1991, not reviewed): a satirical exploration of ethnic-American love whose characters' addiction to sociological rhetoric gets in their (and their readers') way. The title refers to the schoolyard taunt ``What are youChinese, Japanese, or American Knees?'' This sort of mild insider's humor permeates the story of Californian Raymond Dinga ``lapsed Chinese'' who's had affairs with white women and suffered through the requisite marriage to a Chinese-American (and, so it often seemed, to her entire clan). Now, at age 37, the assistant director of Jack London College's Office of Minority Affairs is depressed and bewildered to find himselfas the first divorced member of his own Chinese familyhighly unlikely to perpetuate the purity of the ancestral genes. Caught between an ``American'' itch to strike out on his own and an equally strong desire to play the role of dutiful Chinese son (though his mother is dead and his engineer father, far from monitoring Raymond's behavior, dreams only of sending off for a brand-new mail-order bride), Raymond naturally falls in love next with the woman most likely to unnerve him. Aurora (i.e., ``many-colored'') Crane, a beautiful young half- Japanese, half-Irish photojournalist, has her own problems with ethnicityamong them a resentment of society's stereotypes regarding Asian-American womenand she finds Raymond's ethnic guilt and endless search for identity a tiresome reminder of all she wants to avoid. For a while, Raymond's political correctness drives Aurora out of his lifelong enough for him to have a brief tryst with a war-scarred Vietnamese coworkerbut in the end the couple's philosophical conflicts prove as binding a glue as their profound mutual lust. Aurora takes Raymond back, and his tedious cultural theorizing fills her home againbut it doesn't matter because she loves him. Sadly, the reader has no such blinders on. (An excerpt appeared in the anthology Charlie Chan is Dead, 1993.) (Author tour)
Pub Date: Aug. 23, 1995
ISBN: 0-684-80304-6
Page Count: 256
Publisher: Simon & Schuster
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 15, 1995
Soft-focus story moves right along with few surprises. This time around, Hannah avoids the soap-opera complications of her...
Another middle-aged mom in a muddle.
After years of false starts and big hopes, Elizabeth’s ruggedly handsome husband Jack, a former football star, just landed a spot as a sportscaster on national news. He still loves her, even though much younger women are giving him come-hither looks. Heck, he doesn’t want to betray the love of his life after she helped him kick drugs and stuck by him even when he was a struggling has-been. And won’t it seem hypocritical if he fools around with his sexy assistant while he does in-depth reporting on a rape case involving a famous basketball center? Well, he fools around anyway. Elizabeth, nicknamed Birdie, knows nothing of this, but she withdraws from Jack when her hard-drinking, salt-of-the-earth father has a stroke and dies. Now no one will call her “sugar beet” ever again. Time to return home to Tennessee and contend with Anita, the sort-of-evil stepmother so trashy she wears pink puffy slippers all day long. Naturally, it turns out that Anita actually has a heart of gold and knows a few things about Birdie’s dead mother that were hushed up for years. Mom was an artist, just like Birdie, and an old scandal comes to light as Anita unrolls a vibrant canvas that portrays her secret lover. Perhaps, Birdie muses, her mother died of heartbreak, never having followed her true love or developed her talent. Has she, too, compromised everything she holds dear? Hoping to find out, Birdie joins a support group that promises to reconnect confused women with their passion. She and Jack separate, prompting a how-dare-you fit from their grown daughters. Will Birdie fly her empty nest? Will she go back to college for a degree in art? Will her brooding watercolors ever sell?
Soft-focus story moves right along with few surprises. This time around, Hannah avoids the soap-opera complications of her previous tales (Summer Island, 2001, etc.).Pub Date: July 1, 2002
ISBN: 0-345-45071-X
Page Count: 352
Publisher: Ballantine
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 15, 2002
A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.
Pub Date: July 11, 1960
ISBN: 0060935464
Page Count: 323
Publisher: Lippincott
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: July 1, 1960
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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