Complex, wordy, sometimes compelling novel of obsession, revenge, and the threatening shadow-world underlying daily life. At the heart of Hospital's story (following Charades—not reviewed; Isobars, 1991; Dislocations, 1988, etc.) is an incident involving four children in 1950's Australia: Charlie Chang, racial outsider; Catherine Reed, upper-class girl with brains and heart; Robbie Gray, rich boy with ravenous ego and a veneer of social grace; and witchily powerful Cat, fearless outcast. After her brother's ``accidental'' death, Cat testifies against Robbie, is scapegoated, and sent to the girls' reformatory. Aftershocks continue in the lives of all four as Robbie becomes a prominent judge; Catherine flees Australia; photographer/filmmaker Charlie collects and shuffles images to re-envision the past and get the upper hand on Robbie; Cat disappears after years of prostitution and self-mutilation. Their story is pieced together by Lucy, a ``brainy sheila'' and prostitute who has lived in the quarry (a subterranean underclass community carved out beneath respectable Sydney); she is Charlie's friend and the lover of Robbie's son. As observer at secondhand, Lucy—who considers herself a tourist in the underworld—makes an interesting narrator. But when the novel begins, she too is emotionally overwhelmed; her overwrought and very literary telling often detracts from the central story's impact. Charlie Chang, who finds truth through almost magical coincidence, would not be surprised that Hospital's fellow Australian expat Peter Conrad has recently published a florid, intellectual novel (Underworld, p. 200) looking at a postmodern subterranean inferno; Hospital's version has more story. Flawed, sometimes annoying, often resonant.
Pub Date: Sept. 1, 1992
ISBN: 0-8050-2097-7
Page Count: 320
Publisher: Henry Holt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1992
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Heartfelt, yes, but pretty routine.
Life lessons.
Angie Malone, the youngest of a big, warm Italian-American family, returns to her Pacific Northwest hometown to wrestle with various midlife disappointments: her divorce, Papa’s death, a downturn in business at the family restaurant, and, above all, her childlessness. After several miscarriages, she, a successful ad exec, and husband Conlan, a reporter, befriended a pregnant young girl and planned to adopt her baby—and then the birth mother changed her mind. Angie and Conlan drifted apart and soon found they just didn’t love each other anymore. Metaphorically speaking, “her need for a child had been a high tide, an overwhelming force that drowned them. A year ago, she could have kicked to the surface but not now.” Sadder but wiser, Angie goes to work in the struggling family restaurant, bickering with Mama over updating the menu and replacing the ancient waitress. Soon, Angie befriends another young girl, Lauren Ribido, who’s eager to learn and desperately needs a job. Lauren’s family lives on the wrong side of the tracks, and her mother is a promiscuous alcoholic, but Angie knows nothing of this sad story and welcomes Lauren into the DeSaria family circle. The girl listens in, wide-eyed, as the sisters argue and make wisecracks and—gee-whiz—are actually nice to each other. Nothing at all like her relationship with her sluttish mother, who throws Lauren out when boyfriend David, en route to Stanford, gets her pregnant. Will Lauren, who’s just been accepted to USC, let Angie adopt her baby? Well, a bit of a twist at the end keeps things from becoming too predictable.
Heartfelt, yes, but pretty routine.Pub Date: July 1, 2004
ISBN: 0-345-46750-7
Page Count: 400
Publisher: Ballantine
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 15, 2004
Amateurish, with a twist savvy readers will see coming from a mile away.
A woman accused of shooting her husband six times in the face refuses to speak.
"Alicia Berenson was thirty-three years old when she killed her husband. They had been married for seven years. They were both artists—Alicia was a painter, and Gabriel was a well-known fashion photographer." Michaelides' debut is narrated in the voice of psychotherapist Theo Faber, who applies for a job at the institution where Alicia is incarcerated because he's fascinated with her case and believes he will be able to get her to talk. The narration of the increasingly unrealistic events that follow is interwoven with excerpts from Alicia's diary. Ah, yes, the old interwoven diary trick. When you read Alicia's diary you'll conclude the woman could well have been a novelist instead of a painter because it contains page after page of detailed dialogue, scenes, and conversations quite unlike those in any journal you've ever seen. " 'What's the matter?' 'I can't talk about it on the phone, I need to see you.' 'It's just—I'm not sure I can make it up to Cambridge at the minute.' 'I'll come to you. This afternoon. Okay?' Something in Paul's voice made me agree without thinking about it. He sounded desperate. 'Okay. Are you sure you can't tell me about it now?' 'I'll see you later.' Paul hung up." Wouldn't all this appear in a diary as "Paul wouldn't tell me what was wrong"? An even more improbable entry is the one that pins the tail on the killer. While much of the book is clumsy, contrived, and silly, it is while reading passages of the diary that one may actually find oneself laughing out loud.
Amateurish, with a twist savvy readers will see coming from a mile away.Pub Date: Feb. 5, 2019
ISBN: 978-1-250-30169-7
Page Count: 304
Publisher: Celadon Books
Review Posted Online: Nov. 3, 2018
Kirkus Reviews Issue: Nov. 15, 2018
BOOK REVIEW
BOOK REVIEW
© Copyright 2024 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
