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POINT OF IMPACT

Hunter returns to the sniper theme that made The Master Sniper (1980) a mesmerizing suspense debut, though his later novels (The Spanish Gambit, etc.) have disappointed. This is his best since then. Can one forgive Hunter his dullish leading character and praise him for a fearless, warts-and-all rounded portrait of a master sniper from Arkansas, and even perhaps call Bob Lee Swagger a riveting hero bearing an unbearable burden? Swagger is a genius of the rifle with an encyclopedic background on manufacture and handcrafted ammo, possesses superhuman skill at weighing every conceivable possibility in yardage, windage, dampness, temperature, etc., and has the patience of a brass monkey for holding a position (sometimes for weeks) until his prey appears in the scope. His father won the Congressional Medal of Honor on Iwo Jima, and Bob should have won it as a Marine sniper in Vietnam, where he killed 87 men (confirmed, though actually many more) but was wounded by an even more skillful Russian sniper flown in especially to nail Bob. Now a stonyfaced recluse living in Arkansas' Ouchita Mountains, Bob is lured out of the hills by a phony outfit called RamDyne that wants him to stop that very same Russian from assassinating the President. Truth is, however, that Bob is being set up as the President's alleged lone assassin, an Oswald-like patsy in an incident scheduled for Louis Armstrong Park in New Orleans. When the real assassin fires and hits a prelate instead, Bob is shot by his phony team, escapes and finds himself wounded and on the lam, with his face on the covers of Time and Newsweek as the President's intended killer. Somehow he must track down the team that hired him.... A whiz-bang—especially if you're ballistic on ballistics. (First printing of 50,000)

Pub Date: Feb. 8, 1993

ISBN: 0-553-07139-4

Page Count: 352

Publisher: Bantam

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: Dec. 15, 1992

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A LITTLE LIFE

The phrase “tour de force” could have been invented for this audacious novel.

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Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives.

Yanagihara (The People in the Trees, 2013) takes the still-bold leap of writing about characters who don’t share her background; in addition to being male, JB is African-American, Malcolm has a black father and white mother, Willem is white, and “Jude’s race was undetermined”—deserted at birth, he was raised in a monastery and had an unspeakably traumatic childhood that’s revealed slowly over the course of the book. Two of them are gay, one straight and one bisexual. There isn’t a single significant female character, and for a long novel, there isn’t much plot. There aren’t even many markers of what’s happening in the outside world; Jude moves to a loft in SoHo as a young man, but we don’t see the neighborhood change from gritty artists’ enclave to glitzy tourist destination. What we get instead is an intensely interior look at the friends’ psyches and relationships, and it’s utterly enthralling. The four men think about work and creativity and success and failure; they cook for each other, compete with each other and jostle for each other’s affection. JB bases his entire artistic career on painting portraits of his friends, while Malcolm takes care of them by designing their apartments and houses. When Jude, as an adult, is adopted by his favorite Harvard law professor, his friends join him for Thanksgiving in Cambridge every year. And when Willem becomes a movie star, they all bask in his glow. Eventually, the tone darkens and the story narrows to focus on Jude as the pain of his past cuts deep into his carefully constructed life.  

The phrase “tour de force” could have been invented for this audacious novel.

Pub Date: March 10, 2015

ISBN: 978-0-385-53925-8

Page Count: 720

Publisher: Doubleday

Review Posted Online: Dec. 21, 2014

Kirkus Reviews Issue: Jan. 1, 2015

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TO KILL A MOCKINGBIRD

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

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