An uneven debut: poignant when dealing with the ravages of the disease, tiresome when it slips into the device of the trial.

ONLY WITH THE HEART

A compositionally complex melodrama about Alzheimer’s that offers a few powerful insights, though by end is as wearying as is the caretakers’ heartbreaking duty.

Divided among three narrative voices—victim Eleanor Sloane’s; her son Sam’s; and daughter-in-law Claudia’s—the work takes these different perspectives of the events and creates, if not a cohesive whole, at least an attempt at suspense, as the story centers on a murder trial. Claudia is charged with the murder of her mother-in-law, and her voice quickly slips in and out of the past in a fractured narrative of memory and psychiatric testimony as she recalls both her tragic foster-childhood and her happiness in marrying Sam and gaining a mother in Eleanor. When her disease progresses, Eleanor moves in with Sam and Claudia, who become her caregivers, an arduous task for Claudia, who has suffered numerous miscarriages, presumably from the stress of watching Eleanor’s tragic deterioration. By far the most compelling section is the one narrated by Eleanor herself. Without the trope of the murder trial as a distraction, newcomer Szeman attempts to relay the scattered mental ramblings of a sufferer from dementia, bringing into focus the constant fear and frustration of slowly losing one’s mind. Eleanor attempts suicide a number of times, but her disease is too far progressed for her to concentrate adequately, and her cries for help, or “sleep,” as she is doomed to repeat to Sam and Claudia, go unanswered, not understood. The last narrative is from Sam, who describes the trial, though by this time the verdict as to whether Claudia served an overdose of drugs to Eleanor is of less interest than the outcome of Sam and Claudia’s marriage, threatened by the trial, potentially saved by her surprise pregnancy.

An uneven debut: poignant when dealing with the ravages of the disease, tiresome when it slips into the device of the trial.

Pub Date: Sept. 1, 2000

ISBN: 1-55970-538-8

Page Count: 320

Publisher: Arcade

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Aug. 15, 2000

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THE COLDEST WINTER EVER

Debut novel by hip-hop rap artist Sister Souljah, whose No Disrespect (1994), which mixes sexual history with political diatribe, is popular in schools country-wide. In its way, this is a tour de force of black English and underworld slang, as finely tuned to its heroine’s voice as Alice Walker’s The Color Purple. The subject matter, though, has a certain flashiness, like a black Godfather family saga, and the heroine’s eventual fall develops only glancingly from her character. Born to a 14-year-old mother during one of New York’s worst snowstorms, Winter Santiaga is the teenaged daughter of Ricky Santiaga, Brooklyn’s top drug dealer, who lives like an Arab prince and treats his wife and four daughters like a queen and her princesses. Winter lost her virginity at 12 and now focuses unwaveringly on varieties of adolescent self-indulgence: sex and sugar-daddies, clothes, and getting her own way. She uses school only as a stepping-stone for getting out of the house—after all, nobody’s paying her to go there. But if there’s no money in it, why go? Meanwhile, Daddy decides it’s time to move out of Brooklyn to truly fancy digs on Long Island, though this places him in the discomfiting position of not being absolutely hands-on with his dealers; and sure enough the rise of some young Turks leads to his arrest. Then he does something really stupid: he murders his wife’s two weak brothers in jail with him on Riker’s Island and gets two consecutive life sentences. Winter’s then on her own, especially with Bullet, who may have replaced her dad as top hood, though when she selfishly fails to help her pregnant buddy Simone, there’s worse—much worse—to come. Thinness aside: riveting stuff, with language so frank it curls your hair. (Author tour)

Pub Date: April 1, 1999

ISBN: 0-671-02578-3

Page Count: 320

Publisher: Pocket

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Feb. 1, 1999

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Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the...

FLY AWAY

Hannah’s sequel to Firefly Lane (2008) demonstrates that those who ignore family history are often condemned to repeat it.

When we last left Kate and Tully, the best friends portrayed in Firefly Lane, the friendship was on rocky ground. Now Kate has died of cancer, and Tully, whose once-stellar TV talk show career is in free fall, is wracked with guilt over her failure to be there for Kate until her very last days. Kate’s death has cemented the distrust between her husband, Johnny, and daughter Marah, who expresses her grief by cutting herself and dropping out of college to hang out with goth poet Paxton. Told mostly in flashbacks by Tully, Johnny, Marah and Tully’s long-estranged mother, Dorothy, aka Cloud, the story piles up disasters like the derailment of a high-speed train. Increasingly addicted to prescription sedatives and alcohol, Tully crashes her car and now hovers near death, attended by Kate’s spirit, as the other characters gather to see what their shortsightedness has wrought. We learn that Tully had tried to parent Marah after her father no longer could. Her hard-drinking decline was triggered by Johnny’s anger at her for keeping Marah and Paxton’s liaison secret. Johnny realizes that he only exacerbated Marah’s depression by uprooting the family from their Seattle home. Unexpectedly, Cloud, who rebuffed Tully’s every attempt to reconcile, also appears at her daughter’s bedside. Sixty-nine years old and finally sober, Cloud details for the first time the abusive childhood, complete with commitments to mental hospitals and electroshock treatments, that led to her life as a junkie lowlife and punching bag for trailer-trash men. Although powerful, Cloud’s largely peripheral story deflects focus away from the main conflict, as if Hannah was loath to tackle the intractable thicket in which she mired her main characters.

Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the pages turning even as readers begin to resent being drawn into this masochistic morass.

Pub Date: April 23, 2013

ISBN: 978-0-312-57721-6

Page Count: 416

Publisher: St. Martin's

Review Posted Online: Feb. 18, 2013

Kirkus Reviews Issue: March 1, 2013

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