An earnest and mostly successful attempt to humanize Hollywood.
A newly famous actor is kidnapped and his fading-actress girlfriend re-evaluates their connection in Stewart’s latest novel (The New Neighbor, 2015, etc.).
Charlie Outlaw, ascendant TV star—and yes, that's his real name—has made a fatal romantic gaffe: Asked by reporters if his longtime girlfriend, Josie Lamar, is the love of his life, he gives, from what is perhaps an excess of zeal, the precisely wrong answer: "Yes!...So far." The relationship blows up, and Charlie retreats to an unnamed tropical island far from the artifice of Hollywood. Almost immediately, he is kidnapped by activists protesting overdevelopment—and, surprisingly, not because they know who he is. Meanwhile, a shellshocked Josie, having passed age 40, that dangerous precipice for actresses, phones it in, doing guest spots, a sitcom, and a fan convention. As her career continues its downward spiral from her long-past glory days as TV action heroine Bronwyn Kyle, her increasingly frantic texts to Charlie go unreturned. She has no idea where he is but assumes he’s ghosting her. Such is the setup of Stewart’s thoughtful study of two Hollywood denizens who take their craft as actors seriously; so seriously that exhortations from Stanislavsky (among other acting gurus) not only precede each section, but inform how Charlie and Josie live their lives, even in extremis—while confined to a car trunk, Charlie contemplates the contrast between acted emotional response and real panic. The chapters alternate between Charlie's and Josie's stories, but the narrative voice which swoops into and around the psyches of all the characters, however minor, is old-school omniscient, saying things like “Let’s leave him there, poor Charlie....” Stewart varies the lengths of her sentences to achieve an unstudied lyricism and cadence. As the kidnappers betray their incompetence, which renders them no less dangerous, and Josie considers a flirtation with her former co-star Max, the meditations on acting, while fascinating in their own right, distract more and more from the motivation and behavior of Josie and Charlie as protagonists of this book, not of their latest scripts.
An earnest and mostly successful attempt to humanize Hollywood.Pub Date: March 27, 2018
ISBN: 978-0-7352-1434-7
Page Count: 336
Publisher: Putnam
Review Posted Online: Feb. 19, 2018
Kirkus Reviews Issue: March 1, 2018
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.
Are we not men? We are—well, ask Bigfoot, as Brooks does in this delightful yarn, following on his bestseller World War Z(2006).
A zombie apocalypse is one thing. A volcanic eruption is quite another, for, as the journalist who does a framing voice-over narration for Brooks’ latest puts it, when Mount Rainier popped its cork, “it was the psychological aspect, the hyperbole-fueled hysteria that had ended up killing the most people.” Maybe, but the sasquatches whom the volcano displaced contributed to the statistics, too, if only out of self-defense. Brooks places the epicenter of the Bigfoot war in a high-tech hideaway populated by the kind of people you might find in a Jurassic Park franchise: the schmo who doesn’t know how to do much of anything but tries anyway, the well-intentioned bleeding heart, the know-it-all intellectual who turns out to know the wrong things, the immigrant with a tough backstory and an instinct for survival. Indeed, the novel does double duty as a survival manual, packed full of good advice—for instance, try not to get wounded, for “injury turns you from a giver to a taker. Taking up our resources, our time to care for you.” Brooks presents a case for making room for Bigfoot in the world while peppering his narrative with timely social criticism about bad behavior on the human side of the conflict: The explosion of Rainier might have been better forecast had the president not slashed the budget of the U.S. Geological Survey, leading to “immediate suspension of the National Volcano Early Warning System,” and there’s always someone around looking to monetize the natural disaster and the sasquatch-y onslaught that follows. Brooks is a pro at building suspense even if it plays out in some rather spectacularly yucky episodes, one involving a short spear that takes its name from “the sucking sound of pulling it out of the dead man’s heart and lungs.” Grossness aside, it puts you right there on the scene.
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.Pub Date: June 16, 2020
ISBN: 978-1-9848-2678-7
Page Count: 304
Publisher: Del Rey/Ballantine
Review Posted Online: Feb. 9, 2020
Kirkus Reviews Issue: March 1, 2020
BOOK REVIEW
BOOK TO SCREEN
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
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