As mysteries unfold, so does a loving portrait of small-town life, both on and off the reservation, but not in the way we’re...
A masterful tale that combines the wit of Sherman Alexie with the old-fashioned storytelling of Olive Ann Burns.
When Tecumseh and older cousin Lum witness a woman throwing a suitcase from a cliff into the Shield River, and then following it with herself, the small mysteries begin. The body is found, the suitcase not. Then Soldier, Tecumseh’s dog and best friend, finds a child’s skull with a hole and a red ribbon. Son of a practical mother and a dreaming, sometimes drinking, mostly scheming father, Tecumseh lives in the contemporary flux made up of the two towns of Truth and Brightwater, one in Montana and one in Canada—and one an Indian reservation—separated by the glacial Shield River. He also lives in his own flux between childhood and adulthood, and in another between his separated parents. Dad augments his living as a carpenter, with schemes no odder than the government’s—smuggling hazardous bio-waste across the border, for example—and Mom’s a beautician. During the long days of summer, Tecumseh wanders back and forth between them, Soldier nearly always at his side. Lum is his second best friend, a top-flight runner in training for the contest that will cap the annual end-of-summer Indian Days Festival. Tecumseh’s aunt, Cassie, makes one of her many returns, but this time, mysteriously, she doesn’t leave (together, she and Mom carry a multitude of secrets). Also returning is Monroe Swimmer, Famous Indian Artist, the reservation’s most notable son and once a close friend of Tecumseh’s father. Tecumseh takes a “job” with Monroe, who has bought the old Methodist church and is painting it—a magical trompe l’oeil—into oblivion.
As mysteries unfold, so does a loving portrait of small-town life, both on and off the reservation, but not in the way we’re accustomed to seeing in contemporary Native American fiction: King (Green Grass, Running Water, 1993), more interested in being human first and Indian second, accomplishes his aims without “characters” of mystic eccentricity, violent guilt, racism and self-loathing, and alcoholism being upfront and center.Pub Date: Sept. 1, 2000
ISBN: 0-87113-818-2
Page Count: 272
Publisher: Atlantic Monthly
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 2000
BOOK REVIEW
BOOK REVIEW
A strict report, worthy of sympathy.
A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.
"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….
A strict report, worthy of sympathy.Pub Date: June 15, 1951
ISBN: 0316769177
Page Count: -
Publisher: Little, Brown
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: June 15, 1951
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
APPRECIATIONS
Genetically engineered dinosaurs run amok in Crichton's new, vastly entertaining science thriller. From the introduction alone—a classically Crichton-clear discussion of the implications of biotechnological research—it's evident that the Harvard M.D. has bounced back from the science-fantasy silliness of Sphere (1987) for another taut reworking of the Frankenstein theme, as in The Andromeda Strain and The Terminal Man. Here, Dr. Frankenstein is aging billionaire John Hammond, whose monster is a manmade ecosystem based on a Costa Rican island. Designed as the world's ultimate theme park, the ecosystem boasts climate and flora of the Jurassic Age and—most spectacularly—15 varieties of dinosaurs, created by elaborate genetic engineering that Crichton explains in fascinating detail, rich with dino-lore and complete with graphics. Into the park, for a safety check before its opening, comes the novel's band of characters—who, though well drawn, double as symbolic types in this unsubtle morality play. Among them are hero Alan Grant, noble paleontologist; Hammond, venal and obsessed; amoral dino-designer Henry Wu; Hammond's two innocent grandchildren; and mathematician Ian Malcolm, who in long diatribes serves as Crichton's mouthpiece to lament the folly of science. Upon arrival, the visitors tour the park; meanwhile, an industrial spy steals some dino embryos by shutting down the island's power—and its security grid, allowing the beasts to run loose. The bulk of the remaining narrative consists of dinos—ferocious T. Rex's, voracious velociraptors, venom-spitting dilophosaurs—stalking, ripping, and eating the cast in fast, furious, and suspenseful set-pieces as the ecosystem spins apart. And can Grant prevent the dinos from escaping to the mainland to create unchecked havoc? Though intrusive, the moralizing rarely slows this tornado-paced tale, a slick package of info-thrills that's Crichton's most clever since Congo (1980)—and easily the most exciting dinosaur novel ever written. A sure-fire best-seller.
Pub Date: Nov. 7, 1990
ISBN: 0394588169
Page Count: 424
Publisher: Knopf
Review Posted Online: Sept. 21, 2011
Kirkus Reviews Issue: Oct. 15, 1990
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