Nostalgia, sentimentality and irreverent comedy redeem a paper-thin plot in this latest from the veteran author of The Exorcist and later fiction (Dimiter, 2010, etc.).
It’s a monologue performed (as if in a standup routine) by a retired octogenarian Hollywood screenwriter, Peruvian-American Joey El Bueno. While politely deflecting his Bellevue Hospital Nurse Bloor’s request for his evaluation of her screenplay idea (about Nazi scientists and Hitler’s preserved brain), Joey reminisces about his boyhood in New York City circa 1941, as a reluctant Catholic middle-school student, a devourer of pulp fiction and virtually every movie ever made and the accidental friend of a beautiful, eccentric older girl named Jane Bent, who attaches herself to him, becomes his self-appointed mentor and reappears mysteriously as herself and in other guises throughout Joey’s youth. Though we are made privy to his adventures with Jane, none of Joey’s schoolmates or buddies will even acknowledge her existence. The resulting mystery possesses and enriches Joey’s imagination, as he grows regretfully away from his almost saintly “Pop,” a long-widowed pushcart vendor, and into something quite like adulthood. Major problems: Jane disappears from the novel for many pages at a time; Joey/Blatty can’t seem to distinguish a good gag from a groaner; and the eventually revealed identity of Joey’s mystery girl/woman is a clumsy letdown that few readers will fail to see coming. Nevertheless, there are charmingly funny evocations of the 1939 New York World’s Fair and a revelatory day spent at Coney Island’s Luna Park. One appreciates the cameo appearance made by a Boy Scout troop leader who moonlights as a numbers runner—not to mention the schoolteacher nun who assigns an essay on the topic “Why St. Francis of Assisi Talked to Birds But Not Fish.” But Blatty stacks the deck with forced emphases on the figure of Jane (“There was this aura about her, something spiritual; ethereal, really.”).
Readers aren’t likely to buy it. Our suggestion: Skim this one if you must, then pop some corn and watch the film version of The Exorcist again.Pub Date: Nov. 9, 2010
ISBN: 978-0-7653-2649-2
Page Count: 208
Publisher: Forge
Review Posted Online: Aug. 23, 2010
Kirkus Reviews Issue: Sept. 15, 2010
Categories: GENERAL FICTION
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BOOK REVIEW
BOOK REVIEW
While a few weeks ago it seemed as if Praeger would have a two month lead over Dutton in their presentation of this Soviet best seller, both the "authorized" edition (Dutton's) and the "unauthorized" (Praeger's) will appear almost simultaneously. There has been considerable advance attention on what appears to be as much of a publishing cause celebre here as the original appearance of the book in Russia. Without entering into the scrimmage, or dismissing it as a plague on both your houses, we will limit ourselves to a few facts. Royalties from the "unauthorized" edition will go to the International Rescue Committee; Dutton with their contracted edition is adhering to copyright conventions. The Praeger edition has two translators and one of them is the translator of Doctor Zhivago Dutton's translator, Ralph Parker, has been stigmatized by Praeger as "an apologist for the Soviet regime". To the untutored eye, the Dutton translation seems a little more literary, the Praeger perhaps closer to the rather primitive style of the original. The book itself is an account of one day in the three thousand six hundred and fifty three days of the sentence to be served by a carpenter, Ivan Denisovich Shukhov. (Solzhenitsyn was a political prisoner.) From the unrelenting cold without, to the conditions within, from the bathhouse to the latrine to the cells where survival for more than two weeks is impossible, this records the hopeless facts of existence as faced by thousands who went on "living like this, with your eyes on the ground". The Dutton edition has an excellent introduction providing an orientation on the political background to its appearance in Russia by Marvin Kalb. All involved in its publication (translators, introducers, etc.) claim for it great "artistic" values which we cannot share, although there is no question of its importance as a political and human document and as significant and tangible evidence of the de-Stalinization program.
Pub Date: June 15, 1963
ISBN: 0451228146
Page Count: 181
Publisher: Praeger
Review Posted Online: Oct. 5, 2011
Kirkus Reviews Issue: June 15, 1963
Categories: GENERAL FICTION
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Hannah’s sequel to Firefly Lane (2008) demonstrates that those who ignore family history are often condemned to repeat it.
When we last left Kate and Tully, the best friends portrayed in Firefly Lane, the friendship was on rocky ground. Now Kate has died of cancer, and Tully, whose once-stellar TV talk show career is in free fall, is wracked with guilt over her failure to be there for Kate until her very last days. Kate’s death has cemented the distrust between her husband, Johnny, and daughter Marah, who expresses her grief by cutting herself and dropping out of college to hang out with goth poet Paxton. Told mostly in flashbacks by Tully, Johnny, Marah and Tully’s long-estranged mother, Dorothy, aka Cloud, the story piles up disasters like the derailment of a high-speed train. Increasingly addicted to prescription sedatives and alcohol, Tully crashes her car and now hovers near death, attended by Kate’s spirit, as the other characters gather to see what their shortsightedness has wrought. We learn that Tully had tried to parent Marah after her father no longer could. Her hard-drinking decline was triggered by Johnny’s anger at her for keeping Marah and Paxton’s liaison secret. Johnny realizes that he only exacerbated Marah’s depression by uprooting the family from their Seattle home. Unexpectedly, Cloud, who rebuffed Tully’s every attempt to reconcile, also appears at her daughter’s bedside. Sixty-nine years old and finally sober, Cloud details for the first time the abusive childhood, complete with commitments to mental hospitals and electroshock treatments, that led to her life as a junkie lowlife and punching bag for trailer-trash men. Although powerful, Cloud’s largely peripheral story deflects focus away from the main conflict, as if Hannah was loath to tackle the intractable thicket in which she mired her main characters.
Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the pages turning even as readers begin to resent being drawn into this masochistic morass.Pub Date: April 23, 2013
ISBN: 978-0-312-57721-6
Page Count: 416
Publisher: St. Martin's
Review Posted Online: Feb. 18, 2013
Kirkus Reviews Issue: March 1, 2013
Categories: GENERAL FICTION
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