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Smoke Dreams

A middle-aged man with secrets renovates a haunted house in this historical/mystical Western drama from Willerton (The Lady in White, 2012).
Combining the seemingly disparate themes of home repair and shamanic ghost stories, Willerton splits his novel between the tragic tale of the 19th century Mulvaney family and the modern-day redemption story of house restorer Tucker Whitby. Initially dismayed by the enormous size of the house, Tucker decides to buy the storied property from freshly divorced real estate agent Lynn Anderson after he realizes that the house is, in fact, alive. Built in 1869 by corrupt lawyer Cyrus Mulvaney, who later hanged himself from the rafters, the house was given sentience by an unnamed shaman. The mystery of the shaman’s identity is slowly revealed as Tucker and his crew of teenage construction workers restore it. When a pregnant teenager seeks asylum from her unhappy family, Tucker attempts to conquer his past emotional wounds so he can help her. The narrative engages because it embraces its mystical premise. When asked what it’s like to restore a haunted house, Tucker says without irony, “Building with a spirit-partner is something new, but it’s added a flavor to building that I’ve never had.” Like the Bob Villa of haunted houses, Tucker’s love for the project becomes a conduit for him to address the horrors of his own past. Oddly, the house acts as an occasional lovelorn narrator, adding insight into the mystical happenings. Each of the supporting characters wrestles with believable personal struggles, which illuminates their interactions with others. The descriptions of the restoration work, however, are perhaps too meticulously detailed, although restoration aficionados will undoubtedly relish the passages that describe how each section of the house is carefully brought back to life. Tucker’s emotional demons and the impromptu family he creates are fleshy enough to imbue the sanding, painting and rusty stud removal with genuine feeling.
A warm, sometimes overly described tale of a simultaneous restoration of a home and homeowner.

 
 

Pub Date: April 14, 2014

ISBN: 978-0615974026

Page Count: 292

Publisher: CreateSpace

Review Posted Online: July 2, 2014

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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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A LITTLE LIFE

The phrase “tour de force” could have been invented for this audacious novel.

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Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives.

Yanagihara (The People in the Trees, 2013) takes the still-bold leap of writing about characters who don’t share her background; in addition to being male, JB is African-American, Malcolm has a black father and white mother, Willem is white, and “Jude’s race was undetermined”—deserted at birth, he was raised in a monastery and had an unspeakably traumatic childhood that’s revealed slowly over the course of the book. Two of them are gay, one straight and one bisexual. There isn’t a single significant female character, and for a long novel, there isn’t much plot. There aren’t even many markers of what’s happening in the outside world; Jude moves to a loft in SoHo as a young man, but we don’t see the neighborhood change from gritty artists’ enclave to glitzy tourist destination. What we get instead is an intensely interior look at the friends’ psyches and relationships, and it’s utterly enthralling. The four men think about work and creativity and success and failure; they cook for each other, compete with each other and jostle for each other’s affection. JB bases his entire artistic career on painting portraits of his friends, while Malcolm takes care of them by designing their apartments and houses. When Jude, as an adult, is adopted by his favorite Harvard law professor, his friends join him for Thanksgiving in Cambridge every year. And when Willem becomes a movie star, they all bask in his glow. Eventually, the tone darkens and the story narrows to focus on Jude as the pain of his past cuts deep into his carefully constructed life.  

The phrase “tour de force” could have been invented for this audacious novel.

Pub Date: March 10, 2015

ISBN: 978-0-385-53925-8

Page Count: 720

Publisher: Doubleday

Review Posted Online: Dec. 21, 2014

Kirkus Reviews Issue: Jan. 1, 2015

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