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THE SECRET LETTERS OF MARILYN MONROE AND JACQUELINE KENNEDY

Strong, warm, and engaging.

Pop biographer Leigh (Liza, 1993, etc.) switches gears for a richly researched and oddly successful novel about fictional letters between Marilyn and Jackie.

Leigh’s off-the-wall inspiration works largely because she captures the writing voices of these two icons almost pitch-perfectly in nearly every sentence (though Jackie makes a comment or two we might doubt). The correspondence opens way back at the start of Marilyn’s career, just as Jackie marries Jack, who has already bedded the starlet. That’s in 1953: Jack is fresh and young, but both women are even younger (Marilyn by nine years, Jackie by twelve) and have father-hungers for the charismatic senator from Massachusetts. Jackie had libidinous chats with her own dad about his philandering, while orphaned Marilyn never lived with her father but fixated on Clark Gable, kissing a bedside photo of him throughout childhood. The author slyly leads us into the correspondence with letters from Patrice (Patty) Renoir, who was given the whole batch in a sealed Max Factor box a week before Marilyn died. Patty gave Marilyn Brazilian wax jobs on her pubic hair each time she had a tryst coming up with Jack (known to Patty only as “Mr. G.”) because he loved the prepubescent little-girl look. Throughout the correspondence, Leigh peppers each outstanding event or fact with footnotes from the vast Marilyn/Jackie literature, inventing an occasional gossipy confidant or stolidly solemn reference work. The footnotes give the novel a weird reality and make it the best fictional realization of Marilyn since Sam Toperoff’s dead-on Queen of Desire (1992), with impressive sexual understanding.

Strong, warm, and engaging.

Pub Date: April 25, 2003

ISBN: 0-312-30368-8

Page Count: 288

Publisher: Dunne/St. Martin's

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Jan. 15, 2003

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THE GLASS HOTEL

A strange, subtle, and haunting novel.

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A financier's Ponzi scheme unravels to disastrous effect, revealing the unexpected connections among a cast of disparate characters.

How did Vincent Smith fall overboard from a container ship near the coast of Mauritania, fathoms away from her former life as Jonathan Alkaitis' pretend trophy wife? In this long-anticipated follow-up to Station Eleven (2014), Mandel uses Vincent's disappearance to pick through the wreckage of Alkaitis' fraudulent investment scheme, which ripples through hundreds of lives. There's Paul, Vincent's half brother, a composer and addict in recovery; Olivia, an octogenarian painter who invested her retirement savings in Alkaitis' funds; Leon, a former consultant for a shipping company; and a chorus of office workers who enabled Alkaitis and are terrified of facing the consequences. Slowly, Mandel reveals how her characters struggle to align their stations in life with their visions for what they could be. For Vincent, the promise of transformation comes when she's offered a stint with Alkaitis in "the kingdom of money." Here, the rules of reality are different and time expands, allowing her to pursue video art others find pointless. For Alkaitis, reality itself is too much to bear. In his jail cell, he is confronted by the ghosts of his victims and escapes into "the counterlife," a soothing alternate reality in which he avoided punishment. It's in these dreamy sections that Mandel's ideas about guilt and responsibility, wealth and comfort, the real and the imagined, begin to cohere. At its heart, this is a ghost story in which every boundary is blurred, from the moral to the physical. How far will Alkaitis go to deny responsibility for his actions? And how quickly will his wealth corrupt the ambitions of those in proximity to it? In luminous prose, Mandel shows how easy it is to become caught in a web of unintended consequences and how disastrous it can be when such fragile bonds shatter under pressure.

A strange, subtle, and haunting novel.

Pub Date: March 24, 2020

ISBN: 978-0-525-52114-3

Page Count: 320

Publisher: Knopf

Review Posted Online: Nov. 24, 2019

Kirkus Reviews Issue: Dec. 15, 2019

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DOLORES CLAIBORNE

As Jessie Burlingame lies handcuffed to her bed in Gerald's Game (p. 487), she recalls how, on the clay 30 years ago that her dad molested her, she had a vision of a woman—a murderer?—at a well King explains that vision here: Dolores Claiborne is the woman, and her story of how she killed her husband, and the consequences, proves a seductively suspenseful, if quieter, complement to Jessie's shriek-lest of a tale. The garotte-tight Gerald's Game is one of King's most stylish novels, and the Maine author flexes more stylistic muscle here, having feisty Dolores tell her tale in a nonstop monologue, rich in Down East dialect, that steadily gathers force. Dolores, 65, is speaking to Andy Bissette, sheriff of the island offshore Maine where she's lived her life, most of it as housekeeper for Vera Donovan, a wealthy "bitch." We soon learn that Dolores has a confession to make—in her own sweet time ("I feel a draft in here, Andy. Might go away if you shutcha goddamn trap"). Amidst details—often crudely funny—of her power-plays with Vera, and of her early life, we learn how, years back, Dolores's rotten husband began molesting their teenaged daughter, then stole her college funds. Dolores's retribution—the killing—forms the story's centerpiece, and, taking place on the same day that Jessie's dad molested her, forges the psychic bond—neither elaborated on nor explained—between the two women. It's Dolores's final years with Vera, though, and the bitter manner of Vera's death, that have brought Dolores to the sheriff—and that ultimately transform this, like Gerald's Game, into a devastating tale of heroism in the face of life's suffering. Without the flash and twisted fun of Gerald's Game, this may not sell as well (despite a 1.5 million first printing); but Dolores is a brilliantly realized character, and her struggles will hook readers inexorably.

Pub Date: Dec. 7, 1992

ISBN: 0451177096

Page Count: 352

Publisher: Viking

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Sept. 1, 1992

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