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MOTHER’S BOY

Middleton’s fiction doesn’t wave flags or strike sparks. It stares you in the face and tells the plain truth, and it knows...

Three variously embattled marriages and their complex interconnections are scrupulously analyzed in the veteran author’s new novel—his 43rd, in a half-century’s work including the 1974 Booker Prize–winning Holiday.

Middleton is a domestic realist whose quiet narratives, set mostly in the English Midlands, focus on people of the professional classes whose marital and family relationships both circumscribe and define their often intriguingly flawed natures. This novel begins with 30ish accountant John Riley’s visit to the nursing home where his father William languishes in the early stages of Alzheimer’s. Their halting communication initiates a succession of conversations, accomplished in meetings and telephone calls, through which we gradually comprehend their own and their loved ones’ straitened circumstances. John’s mother Ella, a primary-school headmistress, cannot overcome her anger over William’s effective retreat from her—especially after he overcomes his dementia (“heroically”) and begins romancing a fellow patient. Ella’s chic younger sister Irene and her literally distant husband Eric—a busy foreign correspondent—offer tart commentary, moral support and a dash of sexual complication to John’s initially half-hearted, eventually sincere efforts to reconcile with his estranged wife Helen, an emotionally fragile beauty, albeit a successful solicitor. It sounds like soap opera, but isn’t—because Middleton writes incisive, revealing dialogue and radiates empathy for his sometimes annoyingly poky characters. He also suggests—through allusions to Shakespeare—that fools though these middle-class mortals may be, they’re as complicated, ornery and interesting as the people next door. Though this industrious, unpretentious artist is often compared to E.M. Forster and C.P. Snow, he’s more closely akin to early 20th-century realist Arnold Bennett.

Middleton’s fiction doesn’t wave flags or strike sparks. It stares you in the face and tells the plain truth, and it knows more things about us than we might have believed possible.

Pub Date: Jan. 15, 2007

ISBN: 0-09-179717-9

Page Count: 256

Publisher: Hutchinson/Trafalgar

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Oct. 15, 2006

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MAGIC HOUR

Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.

Sisters work together to solve a child-abandonment case.

Ellie and Julia Cates have never been close. Julia is shy and brainy; Ellie gets by on charm and looks. Their differences must be tossed aside when a traumatized young girl wanders in from the forest into their hometown in Washington. The sisters’ professional skills are put to the test. Julia is a world-renowned child psychologist who has lost her edge. She is reeling from a case that went publicly sour. Though she was cleared of all wrongdoing, Julia’s name was tarnished, forcing her to shutter her Beverly Hills practice. Ellie Barton is the local police chief in Rain Valley, who’s never faced a tougher case. This is her chance to prove she is more than just a fading homecoming queen, but a scarcity of clues and a reluctant victim make locating the girl’s parents nearly impossible. Ellie places an SOS call to her sister; she needs an expert to rehabilitate this wild-child who has been living outside of civilization for years. Confronted with her professional demons, Julia once again has the opportunity to display her talents and salvage her reputation. Hannah (The Things We Do for Love, 2004, etc.) is at her best when writing from the girl’s perspective. The feral wolf-child keeps the reader interested long after the other, transparent characters have grown tiresome. Hannah’s torturously over-written romance passages are stale, but there are surprises in store as the sisters set about unearthing Alice’s past and creating a home for her.

Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.

Pub Date: March 1, 2006

ISBN: 0-345-46752-3

Page Count: 400

Publisher: Ballantine

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: Dec. 1, 2005

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THE CATCHER IN THE RYE

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

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