A couple of touching moments toward the end can’t redeem this surprising misstep from one of our most gifted novelists.
Smiley, who won a Pulitzer for transplanting King Lear to 1970s Iowa (A Thousand Acres, 1991), sets her modern-day version of The Decameron in Hollywood. And it’s no prize-winner.
Her characters are not drawn together by a disaster as directly threatening as the Black Death, though the recently launched invasion of Iraq inspires nearly as much dread in one of them. Self-help author Elena can’t help brooding about the war, even as she lies in bed kissing her lover, slightly-past-his-prime film director Max. It’s March 24, 2003, the morning after the Oscars, and Max’s house is filled with guests: insecure Stoney, who inherited the job of Max’s agent from his more dynamic father; belligerently patriotic Charlie, Max’s childhood friend; Delphine, who’s still living in Max’s guest house years after his divorce from her daughter, gorgeous movie star Zoe; Delphine’s best friend Cassie; Max and Zoe’s daughter Isabel; and Elena’s feckless son Simon. In wander Zoe and her new lover Paul, a New Age-y healer, and the stage is set for ten days of storytelling à la Boccaccio. Unsurprisingly, many of the tales involve movies and moviemaking, though Smiley nods to her source material a few times (e.g., a notorious sinner declared a saint after a mendacious deathbed confession). If only her narrative were as lively as the bawdy Decameron: There’s plenty of sex, but most of it is clinical rather than erotic, and the erectile difficulties of middle-aged men don’t make for very arousing reading either. The parade of stories has no evident thematic unity, and the characters are frequently irritating. Even those who agree with Elena’s feelings about Iraq may grow tired of her harping on the subject, and Isabel’s perennially aggrieved stance toward her mother hardly seems justified by Zoe’s mildly diva-esque behavior. A change of venue to a lavish mansion owned by a mysterious Russian who wants Max to direct a remake of Taras Bulba helps not at all.
A couple of touching moments toward the end can’t redeem this surprising misstep from one of our most gifted novelists.Pub Date: Feb. 15, 2007
ISBN: 1-4000-4061-2
Page Count: 488
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 2006
Packed with riveting drama and painful truths, this book powerfully illustrates the devastation of abuse—and the strength of...
Hoover’s (November 9, 2015, etc.) latest tackles the difficult subject of domestic violence with romantic tenderness and emotional heft.
At first glance, the couple is edgy but cute: Lily Bloom runs a flower shop for people who hate flowers; Ryle Kincaid is a surgeon who says he never wants to get married or have kids. They meet on a rooftop in Boston on the night Ryle loses a patient and Lily attends her abusive father’s funeral. The provocative opening takes a dark turn when Lily receives a warning about Ryle’s intentions from his sister, who becomes Lily’s employee and close friend. Lily swears she’ll never end up in another abusive home, but when Ryle starts to show all the same warning signs that her mother ignored, Lily learns just how hard it is to say goodbye. When Ryle is not in the throes of a jealous rage, his redeeming qualities return, and Lily can justify his behavior: “I think we needed what happened on the stairwell to happen so that I would know his past and we’d be able to work on it together,” she tells herself. Lily marries Ryle hoping the good will outweigh the bad, and the mother-daughter dynamics evolve beautifully as Lily reflects on her childhood with fresh eyes. Diary entries fancifully addressed to TV host Ellen DeGeneres serve as flashbacks to Lily’s teenage years, when she met her first love, Atlas Corrigan, a homeless boy she found squatting in a neighbor’s house. When Atlas turns up in Boston, now a successful chef, he begs Lily to leave Ryle. Despite the better option right in front of her, an unexpected complication forces Lily to cut ties with Atlas, confront Ryle, and try to end the cycle of abuse before it’s too late. The relationships are portrayed with compassion and honesty, and the author’s note at the end that explains Hoover’s personal connection to the subject matter is a must-read.
Packed with riveting drama and painful truths, this book powerfully illustrates the devastation of abuse—and the strength of the survivors.Pub Date: Aug. 2, 2016
ISBN: 978-1-5011-1036-8
Page Count: 320
Publisher: Atria
Review Posted Online: May 30, 2016
Kirkus Reviews Issue: June 15, 2016
SEEN & HEARD
SEEN & HEARD
As the plot grows more complicated, it also sheds believability, leaving sex and witty banter to carry the day.
Brown (Mean Streak, 2014, etc.) ticks off the boxes that elevate her books to the bestseller lists in this sexy romantic thriller set in Texas.
Rock-jawed hero with a dark past: check. Strong-willed, beautiful woman who resists his charms: check. A Whitman’s Sampler of bad guys: check. And finally, a convoluted and not always plausible plot: check. In this latest outing, readers meet TV journalist Kerra Bailey, whose family was torn apart years ago by a hotel bombing that killed 197 people in Dallas. Just in time for the 25th anniversary, Kerra scores an interview with the notoriously private Maj. Trapper, who saved her life, among others, when he emerged from the blast to lead the survivors out of danger. There's an iconic, prizewinning photo of the major carrying a little girl from the wreckage, but the child has never been identified—until now, when Kerra goes public with the information that it was her. Just after they finish filming the interview in his home, the major is shot, and an injured Kerra escapes in the confusion. The major’s son, disgraced Bureau of Alcohol, Tobacco, Firearms and Explosives agent John Trapper—a name M*A*S*H fans will appreciate—steps in, igniting a chain of events that leads to murder, intrigue, betrayal, and a series of dark revelations. As with most of Brown’s heroes and heroines, there’s palpable sexual tension between Trapper, whose taut rear occupies ample literary real estate, and Kerra, who when dealing with Trapper feels “like he’d lightly scratched her just below her bellybutton” when he’s not making her “pleasure points throb.” The complex plot plays out in a round of reveals that don’t always make a lot of sense, but that’s not why Brown’s fans read her books. They check in for the witty, pitch-perfect dialogue and fluid writing. A master of her genre, Brown knows how to please her most ardent readers but relies too often on the same basic formula from novel to novel.
As the plot grows more complicated, it also sheds believability, leaving sex and witty banter to carry the day.Pub Date: Aug. 15, 2017
ISBN: 978-1-4555-7210-6
Page Count: 432
Publisher: Grand Central Publishing
Review Posted Online: July 3, 2017
Kirkus Reviews Issue: July 15, 2017
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