In an attempt to plumb the nature of obsessional love, this slim British novel dabbles with psychological motivations but comes up with a pretty simplistic analysis. It begins well. In a coolly detached narrative, the exacting life of psychiatrist Richard Fisher is described, including his new-found interest in child psychology. He has begun to miss Nell, the child of a brief marriage, whom he hasn't seen since she was a toddler. Now back from a long sabbatical in the States, he decides to reenter the girl's life on her 11th birthday. Thereafter, meeting every Wednesday for tea and talk, he wins her heart, her respect, her star-struck awe. A number of years pass in this manner, father and daughter's ritual steady and comforting, until Fisher informs Nell one evening that he's moving back to America for a job he can't pass up. Flash-forward a few years as Nell, still pining for her father, enters college and develops a crush of epic proportions on her tutor/father-figure, the distinguished drunkard/melancholy poet Bill Marnie. Her endearing crush evolves into a feverish fixation and, unexpectedly, her fantasies come to life: Nell is in heaven, and Marnie is giddy with love. He proposes marriage but then, afflicted by a recurring mental illness, suffers a total breakdown (we learn later its source), which in turn throws Nell into a near-catatonic tailspin. Surprisingly, the first man who ``left'' her, her father, suddenly returns to live in London— an end that implies a therapeutic resolution to Nell's problems. Second-novelist Boyt (The Normal Man, published only in UK) begins by crafting a complex psychological portrait of her protagonist, but then resorts to a serviceable romance plot that veers away from any deep or original exploration of the ways love and obsession can commingle.
Pub Date: July 1, 1997
ISBN: 0-297-81766-3
Page Count: 234
Publisher: Weidenfeld & Nicolson/Trafalgar
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 1, 1997
BOOK REVIEW
BOOK REVIEW
Thinness aside: riveting stuff, with language so frank it curls your hair.
Debut novel by hip-hop rap artist Sister Souljah, whose No Disrespect(1994), which mixes sexual history with political diatribe, is popular in schools countrywide.
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.Pub Date: April 1, 1999
ISBN: 0-671-02578-3
Page Count: 320
Publisher: Pocket
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 1999
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
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