The characters’ star turns are upstaged by the vastness of the set.
Kaplan’s sweeping novel, spanning the years 1917 to 1937, portrays the life of Kay Swift, one of Broadway’s first female composers, extracting her from the shadow of her colleague and lover, George Gershwin.
Katharine Swift, who is renamed “Kay” by Gershwin, marries Jimmy Warburg for love, but the money doesn't hurt since he’s the scion of a family of prominent Jewish financiers. The marriage is happy at first but, over time, gently implodes—mostly due to each partner’s tolerance of the other’s infidelity. Kay, a gifted classical pianist and conservatory star who met her husband while performing at his father’s country estate, misses her professional career. But when she compares her labored compositions with those of her soon-to-be lover, Gershwin, she fears her music is just (George’s term) “machinery.” Eventually, she will achieve a degree of lasting renown—primarily as the tunesmith of the standards “Can’t We Be Friends,” and “Fine and Dandy.” Abetted by its often omniscient narration and long passages of historical context, the novel seems intent on hewing as closely to nonfiction as possible. The history is engrossing, particularly to students of early Broadway—there’s name-dropping aplenty in this and other cultural and political arenas. Gershwin seems to be friends with simply everyone who is anyone in the arts: Duke Ellington, Fats Waller, Langston Hughes, “Dick” Rodgers and “Larry” Hart, Fred and Adele Astaire to name only a few. The Warburgs’ Upper East Side dinner parties also attract luminaries—“Dottie” Parker always has quips to offer Kay about men. Although Kaplan’s propulsive style imparts a momentum of its own, narrative tension is all but absent—the Warburg marriage is not exactly a hell demanding escape, and Gershwin is not exactly a port in a storm. The many disquisitions, on topics as varied as the underpinnings of American anti-Semitism to the misappropriation of Black culture by well-intentioned Whites, are interesting and important, but they do interrupt the novel’s flow.
The characters’ star turns are upstaged by the vastness of the set.Pub Date: March 2, 2021
ISBN: 978-1-9821-0400-9
Page Count: 352
Publisher: Gallery Books/Simon & Schuster
Review Posted Online: Dec. 14, 2020
Kirkus Reviews Issue: Jan. 1, 2021
BOOK REVIEW
A dramatic, vividly detailed reconstruction of a little-known aspect of the Vietnam War.
A young woman’s experience as a nurse in Vietnam casts a deep shadow over her life.
When we learn that the farewell party in the opening scene is for Frances “Frankie” McGrath’s older brother—“a golden boy, a wild child who could make the hardest heart soften”—who is leaving to serve in Vietnam in 1966, we feel pretty certain that poor Finley McGrath is marked for death. Still, it’s a surprise when the fateful doorbell rings less than 20 pages later. His death inspires his sister to enlist as an Army nurse, and this turn of events is just the beginning of a roller coaster of a plot that’s impressive and engrossing if at times a bit formulaic. Hannah renders the experiences of the young women who served in Vietnam in all-encompassing detail. The first half of the book, set in gore-drenched hospital wards, mildewed dorm rooms, and boozy officers’ clubs, is an exciting read, tracking the transformation of virginal, uptight Frankie into a crack surgical nurse and woman of the world. Her tensely platonic romance with a married surgeon ends when his broken, unbreathing body is airlifted out by helicopter; she throws her pent-up passion into a wild affair with a soldier who happens to be her dead brother’s best friend. In the second part of the book, after the war, Frankie seems to experience every possible bad break. A drawback of the story is that none of the secondary characters in her life are fully three-dimensional: Her dismissive, chauvinistic father and tight-lipped, pill-popping mother, her fellow nurses, and her various love interests are more plot devices than people. You’ll wish you could have gone to Vegas and placed a bet on the ending—while it’s against all the odds, you’ll see it coming from a mile away.
A dramatic, vividly detailed reconstruction of a little-known aspect of the Vietnam War.Pub Date: Feb. 6, 2024
ISBN: 9781250178633
Page Count: 480
Publisher: St. Martin's
Review Posted Online: Nov. 4, 2023
Kirkus Reviews Issue: Dec. 1, 2023
PERSPECTIVES
BOOK TO SCREEN
SEEN & HEARD
This propulsive thriller twists into the dark and bloody underbelly of the world of fine art.
The discovery that a revered artist’s sculpture contains a human bone sets off scandal and violence.
Art historian James Becker has what seems like a sweet deal. He’s the curator of the collection of the Fairburn Foundation, housed at a stately home owned by the Lennox family: Sebastian, Becker’s best friend, and his bitter mother, Lady Emmeline. Becker’s wife, Helena, was Sebastian’s fiancee first, but they’re all very civilized about it and happily awaiting the birth of her baby. The centerpiece of the Fairburn collection is works by the late Vanessa Chapman, an artist about whom Becker wrote his thesis, and with whom he is somewhat obsessed. Partly, it’s because of her great talent, but she was also a glamorous figure, a beauty who, as she became successful, sequestered herself on an isolated Scottish tidal island called Eris. She had a dark side—lots of stormy relationships, plus a philandering mooch of a husband who vanished without a trace a few decades ago. Her reputation, though, has risen after her death—so much so that the Fairburn has loaned some of her works to the Tate Modern. That’s where a forensic anthropologist sees one of her sculptures, made of found objects that include what’s described as an animal bone. The scientist is sure the bone is human, and soon Becker finds himself scrambling to prevent scandal. Vanessa willed her works and papers to the foundation, but some of them are still on Eris, guarded by her longtime friend Grace Haswell. A retired doctor, Grace lived with Vanessa off and on over the years and nursed her through her fatal cancer. It was a surprise when Vanessa left her estate not to Grace but to Douglas Lennox, Emmeline’s husband and Sebastian’s father. Douglas was Vanessa’s gallerist and lover, but the two had a nasty falling-out. Sebastian is so frustrated by Grace’s refusal to turn over all of the bequest that he’s ready to sue her, but Becker believes he can negotiate, so off to the the island he goes. He finds far more treachery and shocking secrets than he expected, past and present alike. Hawkins keeps her cast tight, her wild setting ominous, and her plot moving fast.
This propulsive thriller twists into the dark and bloody underbelly of the world of fine art.Pub Date: Oct. 29, 2024
ISBN: 9780063396524
Page Count: 320
Publisher: Mariner Books
Review Posted Online: Sept. 14, 2024
Kirkus Reviews Issue: Oct. 15, 2024
SEEN & HEARD
SEEN & HEARD
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