Bandbox pulses with a comic energy and detail reminiscent of T.C. Boyle at his most entertainingly manic: it’s a wonderful...
Manhattan period melodrama, handled with roguish finesse.
The byzantine plot begins with a daringly extended exposition in which Mallon, author of other historically based fiction (Henry and Clara, 1994; Dewey Beats Truman, 1997, etc.), introduces nearly two dozen characters. Foremost is Jehoshaphat “Joe” Harris, world-weary editor-in-chief of the struggling men’s monthly magazine Bandbox (think Esquire), in a death struggle with rival publication Cutaway, edited by Harris’s semi-scrupulous former employee Jimmy Gordon. The time is the mid-1920s. Journalists and their molls talk tough, drink hard, and mingle with such varied celebs as (fictional) film seductress Rosemary La Roche and (historical) crime boss Arnold Rothstein. Harris’s bibulous vaudeville reporter “Cuddles” Houlihan pines for his lissome—and plucky—gal assistant Becky Walter. Suave columnist Stuart Newman disgraces Bandbox in a drunken meeting with president Calvin Coolidge. Smoldering photographer’s model Waldo Lyndstrom’s bisexual misadventures necessitate payoffs to police. Novelist-columnist Max Stanwick (a razor-sharp caricature of bon vivant Ben Hecht) moves in and out of criminous environments with Cagney-like aplomb. An animal-loving fact-checker sets out to rescue animals stashed in unsafe conditions for use by a phlegmatic staff photographer. A rigged fiction contest threatens to topple the magazine’s credibility. And when Bandbox subscriber dewy-eyed Indianan John Shepard arrives in NYC and meets his raffish journalistic gods, an indiscreet remark prompted by his overindulgence in “near-beer” gets the kid kidnapped by Rothstein’s goons and spirited away to a California ranch. Somehow Harris’s feisty mag survives this “swirl of plagiarism, narcotics-selling . . . public drunkenness” and other embarrassments. Lost are found, lovers united, and Jehoshaphat trumps the ineffably slimy Gordon and lives to fight another day.
Bandbox pulses with a comic energy and detail reminiscent of T.C. Boyle at his most entertainingly manic: it’s a wonderful ride, and a quantum leap beyond Mallon’s earlier fiction. Ragtime in double-time.Pub Date: Jan. 6, 2004
ISBN: 0-375-42116-5
Page Count: 320
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 1, 2003
Too beholden to sentimentality and cliché, this novel fails to establish a uniquely realized perspective.
Hunter’s debut novel tracks the experiences of her family members during the Holocaust.
Sol and Nechuma Kurc, wealthy, cultured Jews in Radom, Poland, are successful shop owners; they and their grown children live a comfortable lifestyle. But that lifestyle is no protection against the onslaught of the Holocaust, which eventually scatters the members of the Kurc family among several continents. Genek, the oldest son, is exiled with his wife to a Siberian gulag. Halina, youngest of all the children, works to protect her family alongside her resistance-fighter husband. Addy, middle child, a composer and engineer before the war breaks out, leaves Europe on one of the last passenger ships, ending up thousands of miles away. Then, too, there are Mila and Felicia, Jakob and Bella, each with their own share of struggles—pain endured, horrors witnessed. Hunter conducted extensive research after learning that her grandfather (Addy in the book) survived the Holocaust. The research shows: her novel is thorough and precise in its details. It’s less precise in its language, however, which frequently relies on cliché. “You’ll get only one shot at this,” Halina thinks, enacting a plan to save her husband. “Don’t botch it.” Later, Genek, confronting a routine bit of paperwork, must decide whether or not to hide his Jewishness. “That form is a deal breaker,” he tells himself. “It’s life and death.” And: “They are low, it seems, on good fortune. And something tells him they’ll need it.” Worse than these stale phrases, though, are the moments when Hunter’s writing is entirely inadequate for the subject matter at hand. Genek, describing the gulag, calls the nearest town “a total shitscape.” This is a low point for Hunter’s writing; elsewhere in the novel, it’s stronger. Still, the characters remain flat and unknowable, while the novel itself is predictable. At this point, more than half a century’s worth of fiction and film has been inspired by the Holocaust—a weighty and imposing tradition. Hunter, it seems, hasn’t been able to break free from her dependence on it.
Too beholden to sentimentality and cliché, this novel fails to establish a uniquely realized perspective.Pub Date: Feb. 14, 2017
ISBN: 978-0-399-56308-9
Page Count: 416
Publisher: Viking
Review Posted Online: Nov. 21, 2016
Kirkus Reviews Issue: Dec. 1, 2016
BOOK TO SCREEN
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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