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THE FAMILY JEWELS

A Mafia tale with good characterization and well-placed comedy.

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In Graziano’s (Die Laughing, 2009) thriller, two brothers who severed their mob ties years ago return to their Manhattan home and become embroiled in the gangster life once again.

Thirty years ago, Tommy Rossini was an enforcer for wiseguy Pauly Fazzula. But when the stress of the job literally gave Tommy a heart attack, Pauly approved his “medical leave” from the Mafia. Tommy becomes a successful businessman in Arizona until he loses everything as one of the many victims of fraudster Bernie Madoff. Meanwhile, his older brother, Jake, married Pauly’s daughter, Bernadette, but later, he gave up all of this mob-associated wealth when he decided to divorce her. He then left New York City and had a string of failed business ventures. Now Jake and Tommy have no choice but to go home to their Parkinson’s disease–ridden mother, Maddie, and her caregiver, Dory. Tommy reluctantly starts working for Pauly again to earn some money, but Jake smartly stays hidden away from the mob boss. Around the same time, Detective Santo Olivetti of the New York City Police Department is investigating the murder of Monsignor Matthew Burns of the Church of the Most Precious Blood. He’s already connected Burns to organized-crime families, and he also has a witness—a priest named Bryce Gleason who may have seen the killer. Soon the priest’s life intersects with Tommy’s, and someone is destined to wind up dead. The Rossinis, with help from their youngest brother, Looney (who never left New York), must devise a plan for dealing with Pauly. Despite a plot that revolves around the mob, Graziano’s tale is surprisingly lighthearted. Violence is mostly implied, and the narrative is largely free of profanity—at least, compared to other gangland novels. This doesn’t diminish the impact of Pauly as a villain, however. His power is without question, and it’s clear that anyone who crosses him will likely die. That said, the author imbues the story with humor, particularly in scenes with the Rossini family. One highlight is Maddie; for instance, when Tommy is upset that Jake would have sex with a woman under their mother’s roof, Jake reminds him that she can’t hear anything. “Right,” Maddie agrees, a good distance away. “I can’t hear anything.” On the romance front, Tommy reconnects with Maria Forzano, a woman whom he left behind when he escaped the mob. Their relationship is convincing as they struggle with burdens—namely, that Pauly seems to have targeted her family-owned shop. Graziano’s no-frills prose provides the plot with a steady tempo. But it also offers lingering moments, as when Tommy walks through his old neighborhood: “On the sidewalks, white-apron-clad vendors hawked fruits and vegetables; and behind the windows of the same shops with sawdust-covered floors, old-fashioned butchers boned legs of veal and wielded scaloppine hammers.” The killer’s identity is apparent rather quickly. Nonetheless, the novel is fraught with tension, as the inevitable showdown with Fazzula could turn out any number of ways.

A Mafia tale with good characterization and well-placed comedy.

Pub Date: March 13, 2018

ISBN: 978-0-692-93682-5

Page Count: 304

Publisher: Ggp Publishing, Inc.

Review Posted Online: Aug. 1, 2018

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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

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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

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