Ex-hippie and ex-druggie Montana businessman and cattle- rancher Frank Copenhaver is winding down: ``the man who had always been just ahead of events was now slightly behind them.'' He's going broke, he's lost his wife, and his daughter is keeping company with a Montana-Firster fascist-type who is Frank's own age or thereabouts. Frank—as the good McGuane character he is—is given to outsized and far-fetched screw-ups and high-jinks, but error isn't saving him now. Nothing is. This errant yet debonair loser—McGuane's perpetual protagonist—gains something with age, though—as does McGuane. A lovely stylist always, McGuane has been handicapped by having to jab at a hip counterculture as silly as his own dandy-ish characters were. But now, with the passing of that counterculture, with only its relics like Frank Copenhaver left, it—like Frank- -takes on poignancy, and McGuane is free to become a kind of American Kingsley Amis. Unloved and unwanted by the Zeitgeist (which prefers the Perot-like doings of the Montana-Firster), Frank is an unchained eye in a novel that shares the tang of liberation and is all over the map as he thinks, for example, now about McDonald's (``Americans had overtaken their product line, if he was any judge, waiting for McThis and McThat. If there were only a few departures or insights—McShit on the toilets, anything—it would be so much easier to take one's seat in this American meeting place and not feel such despair that the world was going on without you''), now about the disappeared drug-culture (``And what fun those darn drugs were. Marvelous worlds aslant, a personal speed wobble in the middle of a civilization equally out of control. And it was wonderful, however short, to have such didactic views on everything, everyone coming down from the mountain with the tablets of stone. Hard to say what it all came to now. Skulls in the desert''). Funny, sad, deliciously written (albeit with dumb plot curlicues): McGuane's most amiable novel, perhaps his best.
Pub Date: Sept. 29, 1992
ISBN: 0-395-54540-4
Page Count: 320
Publisher: Houghton Mifflin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 1992
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
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
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
APPRECIATIONS
© Copyright 2024 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
bookshelf
