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THE TAKEOVER

For all the advance hype, investment banker Frey's first novel, an over-the-top Wall Street/Washington thriller that's less imaginative than paranoid, falls far short of blue-chip, let alone blockbuster, status. Andrew Falcon, who has had his wings clipped after a brilliant career as a mergers and acquisitions specialist, is working at a dÇclassÇ job with National Southern Bank (NASO) in Manhattan. Promised a $5-million fee, he readily agrees to quarterback the hostile takeover of Penn-Mar, a giant chemicals enterprise. Predictably, the financial whiz is being manipulated by a wicked group of establishment power-brokers known as The Sevens; the cabal's elite members are conducting a covert campaign to deny the ultraliberal, tax-minded US president a second term. Once the leveraged buyout has closed, they go public with a potentially ruinous environmental suit against Penn-Mar and leak damaging information about NASO's solvency. Meanwhile, agents of The Sevens have murdered the Federal Reserve Board chairman and hamstrung the chief executive with false but credible allegations that he engaged in insider trading. With capital markets in free fall and the global village's financial system in jeopardy, as per plan, The Sevens step in to restore order. Their triumph is complete save for one problem: The otherwise brilliant Falcon has belatedly realized the $40-billion deal was too good to be true, and with assistance from a black, lesbian journalist has got the goods on his puppet masters. In quest of money, Falcon joins forces with The Sevens, waits patiently, and turns on them decisively when their hired gun comes calling at his Vermont hideaway. Michael Erdman and Michael Thomas do this sort of thing ever so much better, and they're more facile writers to boot. The bottom line: standard and poor. (First printing of 200,000; film rights to Paramount; Book-of-the-Month Club featured alternate; $125,000 ad/promo)

Pub Date: Aug. 1, 1995

ISBN: 0-525-93985-7

Page Count: 352

Publisher: Dutton

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: May 1, 1995

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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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