The giggles throughout, in fact, are authentic, but this time the crazies only nibble at the edges of the dutiful detective...
South Florida’s master farceur takes enough off his trademark loony tunes (Sick Puppy, 2000, etc.) to fit some, though not all, the laughs into a whodunit.
The corpse is the late James Bradley Stomarti, a.k.a. Jimmy Stoma, the long-ago rocker whose fame, years after he fronted the Slut Puppies, is so great that Courtney Love and the Van Halen brothers turn out for his funeral. So does Jack Tagger, banished from the Union-Register investigative team to the obituary desk after he told off the paper’s greedy new owner in front of the shareholders. Jack has succeeded in getting enough material from Jimmy’s widow, one-hit singer Cleo Rio, to file the very first obit on the one-time star. Unfortunately, much of the material seems to be untrue, or at least suggestively incomplete. Jimmy wasn’t producing the new album Cleo’s been plugging at every opportunity, insists his sister, Janet Thrush, but working on his own comeback record. And there are some peculiar discrepancies about Jimmy’s scuba-diving death in the Bahamas. Before Jack can get Janet to request a full autopsy on Jimmy, though, Cleo’s had his body cremated. Still curious, Jack digs up Jimmy’s diving partner, fellow Slut Puppy alum Jay Burns; hours later, as if on cue, Burns is dead. Is somebody trying to wipe out the whole band? Reluctantly aided by his gung-ho editor, comely Emma Cole, Jack presses on, and is soon attacked for his trouble by a thug he fends off with the frozen corpse of Colonel Tom, his late pet lizard—one of the many funny trimmings here that don’t have very much to do with the story.
The giggles throughout, in fact, are authentic, but this time the crazies only nibble at the edges of the dutiful detective story instead of disporting themselves smack into the middle of things, as they’ve done in Hiaasen’s more inspired crime comedies.Pub Date: Jan. 9, 2002
ISBN: 0-375-41107-0
Page Count: 336
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 1, 2001
Absolutely enthralling. Read it.
A young Irish couple gets together, splits up, gets together, splits up—sorry, can't tell you how it ends!
Irish writer Rooney has made a trans-Atlantic splash since publishing her first novel, Conversations With Friends, in 2017. Her second has already won the Costa Novel Award, among other honors, since it was published in Ireland and Britain last year. In outline it's a simple story, but Rooney tells it with bravura intelligence, wit, and delicacy. Connell Waldron and Marianne Sheridan are classmates in the small Irish town of Carricklea, where his mother works for her family as a cleaner. It's 2011, after the financial crisis, which hovers around the edges of the book like a ghost. Connell is popular in school, good at soccer, and nice; Marianne is strange and friendless. They're the smartest kids in their class, and they forge an intimacy when Connell picks his mother up from Marianne's house. Soon they're having sex, but Connell doesn't want anyone to know and Marianne doesn't mind; either she really doesn't care, or it's all she thinks she deserves. Or both. Though one time when she's forced into a social situation with some of their classmates, she briefly fantasizes about what would happen if she revealed their connection: "How much terrifying and bewildering status would accrue to her in this one moment, how destabilising it would be, how destructive." When they both move to Dublin for Trinity College, their positions are swapped: Marianne now seems electric and in-demand while Connell feels adrift in this unfamiliar environment. Rooney's genius lies in her ability to track her characters' subtle shifts in power, both within themselves and in relation to each other, and the ways they do and don't know each other; they both feel most like themselves when they're together, but they still have disastrous failures of communication. "Sorry about last night," Marianne says to Connell in February 2012. Then Rooney elaborates: "She tries to pronounce this in a way that communicates several things: apology, painful embarrassment, some additional pained embarrassment that serves to ironise and dilute the painful kind, a sense that she knows she will be forgiven or is already, a desire not to 'make a big deal.' " Then: "Forget about it, he says." Rooney precisely articulates everything that's going on below the surface; there's humor and insight here as well as the pleasure of getting to know two prickly, complicated people as they try to figure out who they are and who they want to become.
Absolutely enthralling. Read it.Pub Date: April 16, 2019
ISBN: 978-1-984-82217-8
Page Count: 288
Publisher: Hogarth
Review Posted Online: Feb. 17, 2019
Kirkus Reviews Issue: March 1, 2019
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"This soil," concludes the young narrator of this quiet chronicle of garrotted innocence, "is bad for all kinds of flowers. Certain seeds it will not nurture, certain fruit it will not bear." And among the exclusions of white rural Ohio, echoed by black respectability, is ugly, black, loveless, twelve-year-old Pecola. But in a world where blue-eyed gifts are clucked over and admired, and the Pecolas are simply not seen, there is always the possibility of the dream and wish—for blue eyes. Born of a mother who adjusted her life to the clarity and serenity of white households and "acquired virtues that were easy to maintain" and a father, Cholly, stunted by early rejections and humiliations, Pecola just might have been loved—for in raping his daughter Cholly did at least touch her. But "Love is never better than the lover," and with the death of her baby, the child herself, accepting absolutely the gift of blue eyes from a faith healer (whose perverse interest in little girls does not preclude understanding), inches over into madness. A skillful understated tribute to the fall of a sparrow for whose small tragedy there was no watching eye.
Pub Date: Oct. 29, 1970
ISBN: 0375411550
Page Count: -
Publisher: Holt Rinehart & Winston
Review Posted Online: Sept. 30, 2011
Kirkus Reviews Issue: Oct. 1, 1970
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