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NATIVE

A Wyoming ranch-hand represses his homosexuality until he meets a drifter and then a Native American berdache, or wise man, and finds his own identity in the New West—in a first novel that mixes lyricism with a strong sense of place to chronicle the travails of being gay in a straight world. Blue Parker, 23, is a ranch foreman who's lived his life in a small Wyoming town as a sort of cowboy. It's a place where men are men and you better not mess around with anything queer. Blue makes his peace in such a situation until Sam, a drifter, appears. They go drinking at a bar and meet Gilbert, a Native American quasi- shaman with great personal presence and an interest, possibly sexual, in Blue and Sam. When Gilbert dances with Sam, all hell breaks loose and Sam ends up in the hospital at the hands of Derek, a wild-eyed, crazy redneck. Blue stays with Gilbert for a time: Gilbert is one of those literary figures who's placed inside a book to represent magical doings and absolute confidence and self- possession (``I have things to give you, boys''; ``You're safe and happy with me now''). Then Blue, faced with the suspicions and perplexities of the locals, cares for Sam until Derek comes to Blue's cabin with a knife, whereupon Sam drives away. The rest of the narrative is told mostly in poetic vignettes—flashbacks abound—until, finally, Blue and Sam reconnect before Sam is thrown from a horse. By the end, Blue is off into the sunset alone, to live with—and face down—his demons. Two thirds of this is a finely textured Western narrative with a gay perspective; attached to it is a different kind of windup that's impressionistic and fragmented. Mostly it works, though the stitches show through sometimes.

Pub Date: March 15, 1993

ISBN: 0-525-93574-6

Page Count: 256

Publisher: Dutton

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Jan. 1, 1993

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TO KILL A MOCKINGBIRD

A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.

Pub Date: July 11, 1960

ISBN: 0060935464

Page Count: 323

Publisher: Lippincott

Review Posted Online: Oct. 7, 2011

Kirkus Reviews Issue: July 1, 1960

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DISTANT SHORES

Soft-focus story moves right along with few surprises. This time around, Hannah avoids the soap-opera complications of her...

Another middle-aged mom in a muddle.

After years of false starts and big hopes, Elizabeth’s ruggedly handsome husband Jack, a former football star, just landed a spot as a sportscaster on national news. He still loves her, even though much younger women are giving him come-hither looks. Heck, he doesn’t want to betray the love of his life after she helped him kick drugs and stuck by him even when he was a struggling has-been. And won’t it seem hypocritical if he fools around with his sexy assistant while he does in-depth reporting on a rape case involving a famous basketball center? Well, he fools around anyway. Elizabeth, nicknamed Birdie, knows nothing of this, but she withdraws from Jack when her hard-drinking, salt-of-the-earth father has a stroke and dies. Now no one will call her “sugar beet” ever again. Time to return home to Tennessee and contend with Anita, the sort-of-evil stepmother so trashy she wears pink puffy slippers all day long. Naturally, it turns out that Anita actually has a heart of gold and knows a few things about Birdie’s dead mother that were hushed up for years. Mom was an artist, just like Birdie, and an old scandal comes to light as Anita unrolls a vibrant canvas that portrays her secret lover. Perhaps, Birdie muses, her mother died of heartbreak, never having followed her true love or developed her talent. Has she, too, compromised everything she holds dear? Hoping to find out, Birdie joins a support group that promises to reconnect confused women with their passion. She and Jack separate, prompting a how-dare-you fit from their grown daughters. Will Birdie fly her empty nest? Will she go back to college for a degree in art? Will her brooding watercolors ever sell?

Soft-focus story moves right along with few surprises. This time around, Hannah avoids the soap-opera complications of her previous tales (Summer Island, 2001, etc.).

Pub Date: July 1, 2002

ISBN: 0-345-45071-X

Page Count: 352

Publisher: Ballantine

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: May 15, 2002

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