In Vogue columnist Norwich's lead-footed debut, a tabloid- ready tale of fatal mayhem on the way to the Department of Motor Vehicles is punctuated with slightly more affecting flashbacks to the not-yet-licensed driver's sad childhood. Julian Orr chronicles society parties for a New York daily and also works for a Vogue-like magazine called View. His therapist urges him to learn to drive so that he can go to Connecticut and visit his parents' graves. Julian enrolls in a driving school, but on the big morning of his road test, Hector, his instructor, calls to cancel. After a furious Julian threatens the manager of the school with a critical newspaper piece, Hector is ordered to show up. Bad idea. Hector arrives with his seven-year-old daughter in tow, and it's soon clear that he's on the verge of a breakdown. He insults Julian, punches him, and ultimately hits and kills an elderly woman. When the police stop the car, Hector starts shooting and is also killed. Julian saves Hector's daughter, whom he decides he wants to keep. In short order, Julian gets his license, doesn't get custody of the girl, and drives himself to the cemetery for his poignant graveside moment. This ghastly tale—told in a light satiric tone jarringly at odds with the tragic events described—is punctuated with vignettes from Julian's young life. We learn that toddler Julian slept in his kind father's bed while his mother slept in another room, that he was molested by a male counselor at the Enchanted Woods camp, and that he was orphaned during his adolescence. How does any of this relate to poor Hector? The connection between the two stories is as obscure as the relevance of the learning-to-drive metaphor. An uneasy blend of satire and mourning, unleavened by either society dish or genuine insight.
Pub Date: May 1, 1996
ISBN: 0-87113-631-7
Page Count: 224
Publisher: Atlantic Monthly
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 1996
BOOK REVIEW
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
This large, stately, and intensely powerful new novel by the author of Terms of Endearment and The Last Picture Show is constructed around a cattle drive—an epic journey from dry, hard-drinking south Texas, where a band of retired Texas Rangers has been living idly, to the last outpost and the last days of the old, unsettled West in rough Montana. The time is the 1880s. The characters are larger than life and shimmer: Captain Woodrow Call, who leads the drive, is the American type of an unrelentingly righteous man whose values are puritanical and pioneering and whose orders, which his men inevitably follow, lead, toward the end, to their deaths; talkative Gus McCrae, Call's best friend, learned, lenient, almost magically skilled in a crisis, who is one of those who dies; Newt, the unacknowledged 17-year-old son of Captain Call's one period of self-indulgence and the inheritor of what will become a new and kinder West; and whores, drivers, misplaced sheriffs and scattered settlers, all of whom are drawn sharply, engagingly, movingly. As the rag-tag band drives the cattle 3,000 miles northward, only Call fails to learn that his quest to conquer more new territories in the West is futile—it's a quest that perishes as men are killed by natural menaces that soon will be tamed and by half-starved renegades who soon will die at the hands of those less heroic than themselves. McMurtry shows that it is a quest misplaced in history, in a landscape that is bare of buffalo but still mythic; and it is only one of McMurtry's major accomplishments that he does it without forfeiting a grain of the characters' sympathetic power or of the book's considerable suspense. This is a masterly novel. It will appeal to all lovers of fiction of the first order.
Pub Date: June 1, 1985
ISBN: 068487122X
Page Count: 872
Publisher: Simon & Schuster
Review Posted Online: Sept. 30, 2011
Kirkus Reviews Issue: May 15, 1985
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