Next book

THE FOUNTAIN OF YOUTH

A humanistic project that delivers a good read, with plot twists and memorable characters.

Awards & Accolades

Our Verdict

  • Our Verdict
  • GET IT

Increasingly preoccupied by fears of dementia, an elderly man in a nursing home finds a new purpose and love in this novel.

Still in his 60s, Robert Glickman, a retired neurologist, resides at the Youth Fountain Senior Living Facility, called the Fountain of Youth by some. The decision was made for him, he says, but he’s also haunted by fears of Lewy body dementia, a “devastating and ugly” disease that runs in his family. As Glickman says repeatedly, “I have other plans when the time comes,” designs that have something to do with the locked box he stores in his closet and the key he wears around his neck. In the meantime, he keeps himself sharp by testing his brain every Sunday with 20 questions from his grandson’s sixth-grade quiz book (“Question 1: Earth is located in which galaxy?”), fretting when he gets any wrong and hiding the volume weekly to test whether he can find it again. Glickman gets along fairly well with the staff (especially the siblings Rufus, Ruth, and Hester, who share a tragic history that has left Hester with progressive mutism) and the other residents, all but two of whom are Jewish. One, O’Reilly, pretends to be Jewish by cursing in Yiddish and telling the ladies he’s circumcised. A persistent rumor has it that the other gentile, Boyle, is a Nazi in hiding; he has a greasy-looking teenage grandson, Stanley, who gets caught between the FBI and a drug cartel. Without intending to, Glickman finds himself becoming deeply involved with the life of the Fountain, even experiencing romance again with Christina Abernathy, a new resident and a retired psychotherapist who might be able to help Hester. Not paradoxically for Glickman, these relationships and the work he does on their behalf give him the strength to continue fighting for the right to die with dignity. Although this novel wears its heart on its sleeve, being dedicated to all those working for Glickman’s cause, Shear (The Trials of Adrian Wheeler, 2014) never allows the book to become didactic. Instead, his remarkable characters demonstrate the fullness with which life can be lived when you’re willing to get involved, as Glickman does not only with Fountain residents, but also with a vulnerable young woman named Lucy Diamond he runs across. (Early on, he notices that Lucy’s “sales ticket from Goodwill still dangled from her tattered jacket.”) In an entertaining episode, Glickman gets roped into reading The Great Gatsby aloud on Lower Level 2, the nursing floor, which he’s always avoided out of fear and disgust (the smells, the dying). Fitzgerald’s novel sparks a lot of interesting discussions among residents Glickman had tagged as moribund. At the end, most listeners clap, but not the sentimental ones, “disappointed that Gatsby could not hold onto the rays of green emanating across the sound.” Rays of green, like the youth they can’t hold onto at the Fountain? While never in denial about hard truths, and always claiming the right to make end-of-life decisions for oneself, this engrossing book also demonstrates the reality of hope.

A humanistic project that delivers a good read, with plot twists and memorable characters.

Pub Date: May 19, 2017

ISBN: 978-1-5092-1389-4

Page Count: 298

Publisher: The Wild Rose Press, Inc.

Review Posted Online: Sept. 21, 2017

Kirkus Reviews Issue: Nov. 1, 2017

Categories:
Next book

SUMMER ISLAND

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with...

Talk-show queen takes tumble as millions jeer.

Nora Bridges is a wildly popular radio spokesperson for family-first virtues, but her loyal listeners don't know that she walked out on her husband and teenaged daughters years ago and didn't look back. Now that a former lover has sold racy pix of naked Nora and horny himself to a national tabloid, her estranged daughter Ruby, an unsuccessful stand-up comic in Los Angeles, has been approached to pen a tell-all. Greedy for the fat fee she's been promised, Ruby agrees and heads for the San Juan Islands, eager to get reacquainted with the mom she plans to betray. Once in the family homestead, nasty Ruby alternately sulks and glares at her mother, who is temporarily wheelchair-bound as a result of a post-scandal car crash. Uncaring, Ruby begins writing her side of the story when she's not strolling on the beach with former sweetheart Dean Sloan, the son of wealthy socialites who basically ignored him and his gay brother Eric. Eric, now dying of cancer and also in a wheelchair, has returned to the island. This dismal threesome catch up on old times, recalling their childhood idylls on the island. After Ruby's perfect big sister Caroline shows up, there's another round of heartfelt talk. Nora gradually reveals the truth about her unloving husband and her late father's alcoholism, which led her to seek the approval of others at the cost of her own peace of mind. And so on. Ruby is aghast to discover that she doesn't know everything after all, but Dean offers her subdued comfort. Happy endings await almost everyone—except for readers of this nobly preachy snifflefest.

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with syrupy platitudes about life and love.

Pub Date: March 1, 2001

ISBN: 0-609-60737-5

Page Count: 336

Publisher: Crown

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Jan. 15, 2001

Categories:
Next book

LAST ORDERS

Britisher Swift's sixth novel (Ever After, 1992 etc.) and fourth to appear here is a slow-to-start but then captivating tale of English working-class families in the four decades following WW II. When Jack Dodds dies suddenly of cancer after years of running a butcher shop in London, he leaves a strange request—namely, that his ashes be scattered off Margate pier into the sea. And who could better be suited to fulfill this wish than his three oldest drinking buddies—insurance man Ray, vegetable seller Lenny, and undertaker Vic, all of whom, like Jack himself, fought also as soldiers or sailors in the long-ago world war. Swift's narrative start, with its potential for the melodramatic, is developed instead with an economy, heart, and eye that release (through the characters' own voices, one after another) the story's humanity and depth instead of its schmaltz. The jokes may be weak and self- conscious when the three old friends meet at their local pub in the company of the urn holding Jack's ashes; but once the group gets on the road, in an expensive car driven by Jack's adoptive son, Vince, the story starts gradually to move forward, cohere, and deepen. The reader learns in time why it is that no wife comes along, why three marriages out of three broke apart, and why Vince always hated his stepfather Jack and still does—or so he thinks. There will be stories of innocent youth, suffering wives, early loves, lost daughters, secret affairs, and old antagonisms—including a fistfight over the dead on an English hilltop, and a strewing of Jack's ashes into roiling seawaves that will draw up feelings perhaps unexpectedly strong. Without affectation, Swift listens closely to the lives that are his subject and creates a songbook of voices part lyric, part epic, part working-class social realism—with, in all, the ring to it of the honest, human, and true.

Pub Date: April 5, 1996

ISBN: 0-679-41224-7

Page Count: 304

Publisher: Knopf

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Feb. 15, 1996

Categories:
Close Quickview