The gut-soul of Roots, with which this will be recklessly, inevitably linked, and a handsome display of a major talent.

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SONG OF SOLOMON

"When you know your name, you should hang on to it, for unless it is noted down and remembered, it will die when you die."

And the scribbled no-name "Macon Dead," given to a newly freed black man by a drunken Union Army officer, has stained out a family's real name for three generations, and then we meet the third "Macon Dead," called "Milkman." Raised among the sour hatreds of the richest black family in a Michigan town, Milkman learns not to love or make commitments, learns to turn away from his father's hard, tight greed, his mother's unloved passivity, his sisters' sterile virginity. He stands apart from his outcast aunt Pilate (a figure reminiscent of Sula, living beyond all reason), a "raggedy bootlegger" who keeps her name in a box threaded to one ear. And he stands above the wild untidy adoration of his cousin Hagar, above the atrocities against blacks in the 1950s, even while his friend organizes a black execution squad. However, when Milkman's father opens the door to a family past of murder and flight, Milkman—in order to steal what he believes is gold—begins the cleansing Odyssean journey. His wanderings will take him through a wilderness of rich and wonderful landscapes murmuring with old tales, those real names becoming closer and more familiar. He beholds eerie appearances (an ancient Circe ringed with fight-eyed dogs)—and hears the electric singing of children, which holds within it the pulse of truth. Like other black Americans, Milkman's retrieval of identity from obliteration helps him to shake off the "Dead" no-name state of his forebears. And, like all people, his examination of the past gives him a perspective that liberates the capacity for love. Morrison's narration, accomplished with such patient delicacy, is both darkly tense and exuberant; fantastic events and symbolic embellishments simply extend and deepen the validity and grace of speech and character.

The gut-soul of Roots, with which this will be recklessly, inevitably linked, and a handsome display of a major talent.

Pub Date: Sept. 1, 1977

ISBN: N/A

Page Count: 360

Publisher: Knopf

Review Posted Online: Sept. 30, 2011

Kirkus Reviews Issue: Sept. 1, 1977

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A strongly felt, if not terribly gripping, sendoff for a Turow favorite nearly 35 years after his appearance in Presumed...

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THE LAST TRIAL

Trying his final case at 85, celebrated criminal defense lawyer Sandy Stern defends a Nobel-winning doctor and longtime friend whose cancer wonder drug saved Stern's life but subsequently led to the deaths of others.

Federal prosecutors are charging the eminent doctor, Kiril Pafko, with murder, fraud, and insider trading. An Argentine émigré like Stern, Pafko is no angel. His counselor is certain he sold stock in the company that produced the drug, g-Livia, before users' deaths were reported. The 78-year-old Nobelist is a serial adulterer whose former and current lovers have strong ties to the case. Working for one final time alongside his daughter and proficient legal partner, Marta, who has announced she will close the firm and retire along with her father following the case, Stern must deal not only with "senior moments" before Chief Judge Sonya "Sonny" Klonsky, but also his physical frailty. While taking a deep dive into the ups and downs of a complicated big-time trial, Turow (Testimony, 2017, etc.) crafts a love letter to his profession through his elegiac appreciation of Stern, who has appeared in all his Kindle County novels. The grandly mannered attorney (his favorite response is "Just so") has dedicated himself to the law at great personal cost. But had he not spent so much of his life inside courtrooms, "He never would have known himself." With its bland prosecutors, frequent focus on technical details like "double-blind clinical trials," and lack of real surprises, the novel likely will disappoint some fans of legal thrillers. But this smoothly efficient book gains timely depth through its discussion of thorny moral issues raised by a drug that can extend a cancer sufferer's life expectancy at the risk of suddenly ending it.

A strongly felt, if not terribly gripping, sendoff for a Turow favorite nearly 35 years after his appearance in Presumed Innocent.

Pub Date: May 12, 2020

ISBN: 978-1-5387-4813-8

Page Count: 448

Publisher: Grand Central Publishing

Review Posted Online: Feb. 10, 2020

Kirkus Reviews Issue: March 1, 2020

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With humor and insight, Straub creates a family worth rooting for.

ALL ADULTS HERE

When Astrid Strick witnesses a school bus run over a longtime acquaintance of hers—Barbara Baker, a woman she doesn't like very much—it's only the beginning of the shake-ups to come in her life and the lives of those she loves.

Astrid has been tootling along contentedly in the Hudson Valley town of Clapham, New York, a 68-year-old widow with three grown children. After many years of singlehood since her husband died, she's been quietly seeing Birdie Gonzalez, her hairdresser, for the past two years, and after Barbara's death she determines to tell her children about the relationship: "There was no time to waste, not in this life. There were always more school buses." Elliot, her oldest, who's in real estate, lives in Clapham with his wife, Wendy, who's Chinese American, and their twins toddlers, Aidan and Zachary, who are "such hellions that only a fool would willingly ask for more." Astrid's daughter, Porter, owns a nearby farm producing artisanal goat cheese and has just gotten pregnant through a sperm bank while having an affair with her married high school boyfriend. Nicky, the youngest Strick, is disconcertingly famous for having appeared in an era-defining movie when he was younger and now lives in Brooklyn with his French wife, Juliette, and their daughter, Cecelia, who's being shipped up to live with Astrid for a while after her friend got mixed up with a pedophile she met online. As always, Straub (Modern Lovers, 2016, etc.) draws her characters warmly, making them appealing in their self-centeredness and generosity, their insecurity and hope. The cast is realistically diverse, though in most ways it's fairly superficial; the fact that Birdie is Latina or Porter's obstetrician is African American doesn't have much impact on the story or their characters. Cecelia's new friend, August, wants to make the transition to Robin; that storyline gets more attention, with the two middle schoolers supporting each other through challenging times. The Stricks worry about work, money, sex, and gossip; Straub has a sharp eye for her characters' foibles and the details of their liberal, upper-middle-class milieu.

With humor and insight, Straub creates a family worth rooting for.

Pub Date: May 5, 2020

ISBN: 978-1-59463-469-7

Page Count: 368

Publisher: Riverhead

Review Posted Online: Feb. 10, 2020

Kirkus Reviews Issue: March 1, 2020

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