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DREAM COUNTRY

Too warm, too fuzzy, and way too sweet.

Rice (Follow the Stars Home, 1999, etc.) returns with yet another saccharine celebration of the family ties that hold—even through a child’s disappearance, a teenager’s pregnancy, and a disturbed man’s vengeance.

Beneath all the sentimental effusions on nature, love, and Native Americans, remnants of Rice’s original writing talent remains—her descriptions of place can be excellent, though too often lost in the numerous clunkers and clichés: “Being scared of everything makes some people brave”; “she wished she could fly herself, lower than any plane, looking in every corner for her missing daughter.” Thirteen years ago, when her son Jake disappeared, Daisy Tucker fled east with his twin sister Sage, leaving behind husband James and a ranch in Wyoming. Time passes. Fearful of losing Sage, Daisy has forbidden her to visit her father, but when the girl, now 16 and pregnant, runs away, her mother realizes she must go back and face James, the ranch, and their long-ago history. As Sage heads west, she’s saved from a sexual assault by a strange, gentle boy covered with unusual tattoos who drives a car filled with dogs and cats he’s rescued. He calls himself David, but Sage becomes convinced that he could be her long-lost brother. Back on the ranch, cattle are being cruelly slaughtered, their heads left as ominous warnings, and James learns that someone is hiding out in one of the caves lining the canyon wall. Though long divorced, Daisy and James still find themselves mutually attracted; waiting together as they do for Sage to arrive, fearful of losing their only remaining child, they grow closer. Protected by the spirits of the ancients and imbued with loving hearts, the Tucker family will be strong for the ensuing heartbreaks, revelations, and obligatory soft-focus fade into happiness.

Too warm, too fuzzy, and way too sweet.

Pub Date: Jan. 30, 2001

ISBN: 0-553-80119-8

Page Count: 368

Publisher: Bantam

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Nov. 15, 2000

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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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