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The author describes the small Iowa farming community of her youth, where her debt-ridden father deserted her mother in the early forties, and explores her parents' lives in the light of her own experiences. National ad/promo.

• Sales Rank: #3318918 in Books
• Published on: 1995-09
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x 6.50" w x 1.00" l,
• Binding: Hardcover
• 230 pages

From Publishers Weekly
Scot (Notes from Nepal) evokes a vivid sense of place in this haunting memoir set on the Iowa prairie. She returned to her childhood home, located in the Presbyterian farming community of Scotch Grove, to understand her mother better. When Scot was a baby and her brother only two, her father deserted his wife for another woman after he had mortgaged her farm and left her saddled with debt, committing suicide a few years later. An old trunk filled with family pictures, letters and other memorabilia left to her by her mother stimulated the author to investigate the reasons for her mother's regard for her father and her lack of bitterness while Scot was growing up. Through visits to family members and research into the area's history, she came away with a better understanding of her father's good qualities and his inability to live up to his own expectations, as well as a respect for her mother's forgiveness and enduring love. 40,000 first printing; author tour.
Copyright 1995 Reed Business Information, Inc.

From Library Journal
In the 1940s, when Scot (The Violet Shyness of Their Eyes: Notes from Nepal, LJ 11/15/93) was a young girl in a small town in Iowa, her father abandoned the family, leaving behind a pile of debts for his devoted wife. It was not until the 1990s that Scot returned to her childhood home to investigate her parents' bittersweet relationship and try to understand her mother's unabated love for a man who deserted her for another woman and who subsequently killed himself. In this memoir, Scot also mulls over her own failed first marriage, recollects growing up in her grandmother's house, and sorts out her ancestors' history. The result is a hodgepodge of reconstructed dialog from the past, conversations with relatives in the present, and sensory perceptions of the landscape, with notes about local folklore and geography thrown in. Scot's personal musings lack real coherence and fail to arouse the reader's interest. Not recommended.?Ilse Heidmann, Kyle Community Lib., Tex.
Copyright 1995 Reed Business Information, Inc.

From Scientific American
A bittersweet homecoming story, tracing the author's return in middle age to the puritanical farming community where she grew up. In Scotch Grove, Iowa, she tries to piece together the puzzle of her mother's loving stoicism in the face of her father's humiliating desertion and subsequent suicide. Structured as a patchwork of conversations, childhood recollections, and lyrical encounters with the land, Scot's quietly earnest quest yields her valuable understanding of her mother's reticence and a deeper appreciation of the mysteries of family connections and disconnections that can never be resolved.

Most helpful customer reviews

6 of 6 people found the following review helpful.
Complex truths
By Story Circle Book Reviews
In the mid-'40s, Barbara Scot's father abandoned his wife and two children and ran off with another woman, leaving behind a mortgaged farm and a pile of debts. He committed suicide in 1950, but his wife Katherine continued to live in the small Iowa town and to attend the Presbyterian Church that was witness to her shame. Years later, Scot returns to the town, to her grandfather's house, and to the farm that her mother defended, to try to understand the truth. What compelled her mother to remain? What compelled her father to flee? What combination of church and land loyalty and family heritage created this singularly American tragedy?

As she answers these poignant questions, Scot also movingly discovers a real father: her uncle Jim, who kept her safe and taught her to love nature and the world. Scot's story reminds us that the truth is never simple, and that we are all woven into an intricate web that stretches back into time and deep into community and culture. If you're looking for a book to help you understand a father's abandonment, a mother's determination, and the power of place, this story offers some important insights.

by Susan Wittig Albert
for Story Circle Book Reviews
[...]
reviewing books by, for, and about women

7 of 9 people found the following review helpful.
Prairie Why?
By Harvey S. Jacobs
This book is not my usual genre, but thought I'd stretch a bit. A few chapters in, I felt that I should not be reading Barbara's private diary. Several chapters later I was wondering WHY I was reading Barbara's private diary. Several more chapters in, I was wondering why Barbara felt we all should be reading her private diary. I am confident that Barbara got more out of writing this book than I got out of reading it.
While I was aware that this was a memoir, my assumption was that something interesting must have happened to the author, or her immediate family, or her friends, or her neighbors, or her not so immediate family, or ANYONE! But that was not the case. While Barbara does a very good job of recalling various parts of her childhood, the reader is not really provided any reason to care about any of the characters. Unless you grew up in the Midwest, or were divorced once or twice, or had a parent die young or commit or attempt suicide, there was no real "hook," no connection to the author or her life. We don't really learn anything or take anything away from this book, nor do we learn that the author learned anything but a few missing facts about her past. We don't get any inkling of how that information and/or revelations will benefit her or the reader.
Despite her inclusion of geographic maps and genealogical family trees I had no idea who was related to whom, nor which generation was involved with which other generation. I'm sure it all made sense to her extended families, but to the moderately engaged reader it was very disjointed.
Though this volume was self-absorbed and narrow, Barbara's other volumes may be worth a read assuming that she has an actual story to tell in them.

5 of 9 people found the following review helpful.
very good read
By julie harris
i thoroughly enjoyed this book. i am not an expert critic, but i found myself wanting to go"home" again after reading her book. very nostalgic and bittersweet.

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“Kath is curious,” observes her younger brother, Ethan, not without anxiety. She is thirteen; already everyone can see she’s got her eye on bigger things than provincial Fresno can offer. Years in the glamorous chill of an East Coast prep school will introduce her to a razor-sharp sense of social distinction, cocaine “so good it’s pink,” and an indispensable best friend—all that she needs to prepare for life in Manhattan. There will be fourteen-dollar cocktails but no money for groceries; unsuitable men of enormous charm, and unsuitable jobs of no charm at all; and a wistful yearning for a transformation from someone of promise into someone of genius.

In this deliciously witty and affecting debut novel, fiction winks at real life: Katherine Taylor is its muddled heroine, and also its author. Written in the tradition of Curtis Sittenfeld and Melissa Bank, with the gorgeous hues of a pile of Gatsby’s shirts, Rules for Saying Goodbye is a bittersweet yet comic coming-of-age tale that has an unerring feel for the delights and malaises of a generation.

• Sales Rank: #2640460 in Books
• Published on: 2007-05-29
• Released on: 2007-05-29
• Original language: English
• Number of items: 1
• Dimensions: 1.02" h x 6.58" w x 8.62" l,
• Binding: Hardcover
• 320 pages

From Publishers Weekly
Katherine Taylor's debut features a narrator named Katherine Taylor, whose rebellious mother sends her from Fresno to Manhattan's fictional Claver prep at age 13. The madcap, fast-forward shenanigans that follow read like Auntie Mame à la A.M. Homes. Rich Claver friend Page gets pregnant and develops a coke habit. Katherine gets a Columbia M.F.A. but lacks drive, tending bar at an exclusive hotspot while trying not to deal with her abrasive mom. Katherine's brother, Ethan, a gay actor, rooms with her in her cheap uptown digs until he becomes "the face of Diet Coke." There's ambivalent romance that involves a move to London. Claver friend Clarissa gets cancer as she turns 30. When a nutty neighbor threatens to kill Katherine, police advise vacating, but "giving up a rent-controlled apartment to save your life is as ridiculous as living in Queens." While a lot of what Katherine does is familiar, Taylor is a superb satirist, eviscerating everyone in her Katherine's path. In the middle of the novel she drops a list of "rules for saying goodbye"; it's extraneous, even precious, and it's the best thing in the book: e.g., "Once you are gone, be gone for good." Taylor manages to make worn New York yarns feel fresh again. (June)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Review
"Katherine Taylor's debut novel is sensational. It's wry, funny, heartfelt, and written with grace. I thought boys had the patent on cruelty, but wow, girls can be rough on each other! And yet it's a testament to Taylor's talent that this novel never loses sight of the complexity, the humanity, at the heart of these characters. The story isn't always pretty, but it's so damn good." -- Victor LaValle, author of The Ecstatic and Slapboxing with Jesus "Reading Katherine Taylor is like meeting at a party full of strangers the person you instantly recognize will be a friend for life. Confiding, gossipy, and heartfelt, Rules for Saying Goodbye charts the inexplicable failings and the surprising durabilities of love. It is a sparkling and witty debut." -- Elisabeth Robinson, author of the New York Times bestseller The True and Amazing Adventures of the Hunt Sisters

"This story tumbles through years of a life, careening through cities, through decadent days and nights, through ranks of soulful and magnetic characters. Taylor can wink like Dorothy Parker, and move through worlds like Christopher Isherwood. After you read the last page, your shirt-cuffs will be stained with wine and perfumed with cigarette smoke, and you will be giddy and exhausted from this long, tender, bittersweet, intimate, lovely party." -- Jardine Libaire, author of Here Kitty Kitty "For a fleeting and innocent period in a certain kind of girl's life, cocktails and cigarettes are just an excuse to talk to each other. Rules for Saying Goodbye elegantly describes how this equation reverses--the talking becomes the excuse for the cocktails and cigarettes. In her smart and funny novel, Katherine Taylor renders with unusual precision both the wistfulness and the wit in female friendships." — Dana Spiotta, National Book Award-nominated author of Eat the Document “Achieves a directness and intimacy few novels can match. A beautifully observed and poignant book.” —T.C. Boyle

About the Author
Katherine Taylor has won a Pushcart Prize, and her work has appeared in such journals as Ploughshares. Much like her fictional alter ego, she has burned bridges in London, Rome, and Brussels, but now lives in Los Angeles.

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8 of 8 people found the following review helpful.
This is some funny a** sh**!
By Brent Billy Curtis
Though I'm more prone to picking up a mystery novel than I am to reading satire about the globetrotting tales of a woman who is a 20-something Manhattan MFA grad, this book had me laughing out loud. The pace is quick, as is the wit.

I can't wait to see how Taylor follows up this great book!

Thanks for the great read.
Brent (B. Billy) Curtis
Secluded Parking - Official ABNA Entrant

17 of 21 people found the following review helpful.
Very Interesting Book, Highly Recommended
By hmmm28@yahoo.com
To be honest, this book is out of my usual genre, I only read it because I was trying to cozy up to a Woman who I noticed was reading it. My tactic failed, the book did not.

This author has the ability to lull you into what you think will be a stylistic and breezy read, and then without changing style or demeanor, she somehow drops an anvil on your head. I'd say she has a real talent for communicating life's follies, both the one's you laugh about with friends, and the one's you keep buried in shame.

Its the type of book that stays with you for a while.

3 of 3 people found the following review helpful.
Great Read
By D. J. Beattie
I am an old fart who loves to read and have the time to do so. Well I loved the style, the content and all of it. Refreshing to see a new and talented writer with wit and humor. Keep going Katherine, if you can keep an old guy interested from front to back cover in the adventures of a mid twenties jet setter, just imagine your potential audience. Loved it

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Susan Sontag has said that her earliest idea of what a writer should be was "someone who is interested in everything." Thirty-five years after her first collection of essays, the now classic Against Interpretation, our most important essayist has chosen more than forty longer and shorter pieces from the last two decades that illustrate a deeply felt, kaleidoscopic array of interests, passions, observations, and ideas.

"Reading" offers ardent, freewheeling considerations of talismanic writers from her own private canon, such as Marina Tsvetaeva, Randall Jarrell, Roland Barthes, Machado de Assis, W. G. Sebald, Borges, and Elizabeth Hardwick. "Seeing" is a series of luminous and incisive encounters with film, dance, photography, painting, opera, and theatre. And in the final section, "There and Here," Sontag explores some of her own commitments: to the work (and activism) of conscience, to the concreteness of historical understanding, and to the vocation of the writer.

Where the Stress Falls records a great American writer's urgent engagement with some of the most significant aesthetic and moral issues of the late twentieth century, and provides a brilliant and clear-eyed appraisal of what is at stake, in this new century, in the survival of that inheritance.

• Sales Rank: #681097 in Books
• Published on: 2001-09-21
• Released on: 2001-09-21
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x .94" w x 6.00" l, 1.43 pounds
• Binding: Hardcover
• 288 pages

From Publishers Weekly
One of the few Americans to manage superbly the dual roles of public intellectual and novelist, Sontag, whose novel In America won a National Book Award in 2000, reaches a big audience even as she divides critics. First and foremost an essayist, Sontag tackles varied interests that are compelling in part for their apparent randomness. This new collection of occasional articles includes punditry on literature, film, photography, theater and her own literary career, among other subjects. Once a champion of then-lesser-known writers like Jorge Luis Borges and Roland Barthes, she now boosts the worthy Brazilian novelist Machado de Assis and Swiss writer Robert Walser. Sometimes her enthused advocacy seems overstated, such as when she argues a little too forcefully for Glenway Wescott as a novelist and for the poet Adam Zagajewski as a prose writer. A sugary memorial for New York City Ballet founder Lincoln Kirstein is also inadequate on many levels. Still, Sontag's appetite for trends and achievements is still so fierce, and she switches subjects so quickly and lithely, that if one short essay does not convince, the next one probably will. One can't help admiring the conviction evident in "Waiting for Godot in Sarajevo," her account of directing a Beckett play in the war-torn city. There is no one quite like Sontag, and her many admirers will enjoy following up on her reading tips and engaging in debate with her via this book. (Sept.)Forecast: Expect solid sales among Sontag's fans, some of whom will pick this book up as a first foray into her essays. For those who need assistance in entering the Sontag oeuvre, biographer and Baruch College professor Carl Rollyson's Reading Susan Sontag: An Introduction to Her Work is forthcoming in October (Ivan R. Dee).

Copyright 2001 Cahners Business Information, Inc.

From Library Journal
Sontag collects 41 essays that frame over 20 years of astute observations on culture, arts, and aesthetics. Previously published as magazine articles, articles for tourist catalogs, program notes for puppet theater or ballet performances, notes for art exhibition catalogs, and introductions, forewords, or afterwords in other authors' monographs, the essays are organized into three categories. "Reading" encompasses Sontag's erudite, critical renderings on autobiography and the works and influence of international literary figures such as Machado de Assis, Roland Barthes, Danilo Ki, Marina Tsvetaeva, and Robert Walser. In the middle section, "Seeing," Sontag is more approachable, expressing her perceptive and provocative opinions on cinema, garden history, photography, painting, opera, drama, and dance. Finally, in "There and Now," Sontag recounts her experiences in Sarajevo and her feelings regarding travel, activism, writing, and translations. Several of the essays such as "A Letter to Borges" appear here in English for the first time. Although an introduction to prepare newcomers to Sontag for what follows would have been helpful, this remains an attractive and interesting collection from an important cultural thinker. Recommended for academic and public libraries. Jeris Cassel, Rutgers Univ. Lib., New Brunswick, NJ
Copyright 2001 Reed Business Information, Inc.

From Booklist
Sontag won the National Book Award for her novel In America [BKL F 1 00], and readers of her ardent literary essays know that, for Sontag, novelists are nearly at the pinnacle of the universe of words, just a step below the poets. Yet her criticism is art in its own right, so gorgeously formed and creative, so vital and searching, deeply rooted in passionately intelligent reading and unstinting curiosity. Forty-one essays based on two decades of international cultural attentiveness create a substantial and wonderfully musical collection that makes matters literary and artistic urgent and thrilling. A close consideration of poets' prose inspires a sizzling tribute to Russian literature, and thoughts of Glenway Wescott's all-but-forgotten novel, The Pilgrim Hawk, spark a rousing discussion of various approaches to fiction. Sontag is just as piercing and revelatory in her criticism of dance (Lincoln Kirstein), photography (Bellocq), and painting (Howard Hodgkin). And in her reflections on staging Waiting for Godot in Sarajevo in 1993, she is indelibly eloquent about what art brings to life and vice versa. Donna Seaman
Copyright © American Library Association. All rights reserved

Most helpful customer reviews

0 of 1 people found the following review helpful.
A Writer's Writer
By A Customer
Sontag's essays on the writing life are useful and fascinating. Keep an open mind and decide for yourself.

6 of 19 people found the following review helpful.
A Writer's Writer
By A Customer
Sontag's essays on the writing life are useful and fascinating. Keep an open mind and decide for yourself.

0 of 0 people found the following review helpful.
try to imagine a trip you would like to take
By epic phlegm Hooha
By the time I had seen many books by Susan Sontag, I became picky about how much I wanted to read from this book. When I saw an essay called Homage to Halliburton, I felt an irony calling me to read the entire essay no matter what it was about. Mostly a girl was inspired by reading the Book of Marvels by Halliburton, like one of my daughters wanted to see more of the world after being in Japan three years ago. I was hoping to find a book with a picture of President George Herbert Walker Bush puking on the Prime Minister of Japan, but when Susan Sontag was a little girl, many boojks did not have pictures of the things that were exciting to see. She found some snapshots of the author standing next to the Taj Mahal, with bits of so forth.

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During the last months of the disco era, in the very early 1980s, a popular dance club becomes the centre of nightlife for a group of young people new to Manhattan - "boyfriendless social failure" Alice; her treacherous friend from Hampshire College, charlotte; their roommate, Holly; and the five Harvard guys the women meet in the city: Jimmy, the "Dancing Ad Man", who hangs on to his job by getting clients into the club; handsome corporate lawyer and part-time environmentalist Tom; Des, the club's allegedly bisexual underboss, who seems to specialise in women; Dan, an editorial assistant nostalgic for the intellectual ferment of the 1950s; and Josh, a neophyte prosecutor and disco enthusiast who suspects that the club is not being run according to conventionally accepted accounting principles.

• Sales Rank: #248461 in Books
• Published on: 2000-08
• Original language: English
• Number of items: 1
• Dimensions: 1.24" h x 5.87" w x 8.59" l,
• Binding: Hardcover
• 339 pages

From Publishers Weekly
Stillman, independent filmmaker (Metropolitan; Barcelona; The Last Days of Disco) and chronicler of the romantic trials of the upper-middle class, here adapts his own 1998 film, with poignant and hilarious results. The premise is preciously, playfully postmodern: chronically unemployed lounge-chair philosopher Jimmy Steinway is "commissioned" by Castle Rock Entertainment to do a novelization of the film, itself based on the activities of Steinway and his circle in the early 1980s. Steinway relates the events of the film from his own perspective, clueing readers in to the way things "really" happened. We are introduced to "the Club," an ultra-fashionable discotheque, and the characters who inhabit it, including Josh Neff, a clinically depressed, disco-mad assistant district attorney; Dan Powers, a publishing industry wonk whose fervent nightclubbing clashes with his avowed allegiance to the downtrodden; Charlotte Pingree, whose manipulative one-two punch of acidic "honesty" and Clintonian contrition places her at the center of the Club's social whirlwind; and Alice Kinnon, whose quiet intelligence and barely concealed vulnerability make her the focus of romantic attention. Tensions stir within the group when Alice appears to take up with noted womanizer Des McGrath. The growing general animosity is rendered beautifully; the feinting two-step of sexual competition is vividly represented in the halting, emotion-freighted rhythms of the dialogue. Stillman's characters are often praised for their wit and verbal agility, but to take their pronouncements at face value is to deny Stillman's undeniable mastery as a satirist. The most rewarding aspect of the novel is the psychological interplay between the smarmy, self-involved young Jimmy Steinway and the older, wiser, middle-aged Jimmy Steinway who narrates. In adapting The Last Days of Disco, Stillman can lampoon his characters' foibles from a perspective one step beyond, thus articulating a moral perspective while furthering his satire. (Aug.)
Copyright 2000 Reed Business Information, Inc.

From Library Journal
With his first novel, the director of Metropolitan and Barcelona proves that he is as talented a writer as he is a filmmaker. Based on his most recent movie, this is not your usual cheesy quicky film novelization but a fresh and witty comedy of manners that stands on its own literary merits. Almost 20 years after the events depicted in the film occurred, narrator Jimmy Steinway, The Dancing Adman, has been hired by Castle Rock Entertainment to write the novelization. Claiming that the real story started at a party in the Hamptons (not depicted in the movie) where he met the lovely Alice Kinnon, Jimmy recalls how the subtle charms of the boyfriendless social failure stirred a rivalry among Jimmy and four of his Harvard classmates"and the bitter jealousy of her roommate, Charlotte. Set in Manhattan in the early 1980s at the end of the disco era, Stillman!s tale is a wry, perspective portrait of urban young people and their mating rituals. Both fans of the film and sophisticated readers will enjoy.
-"Wilda Williams, Library Journal
Copyright 2000 Reed Business Information, Inc.

From Booklist
When the movie The Last Days of Disco was released in 1998, it met with much critical acclaim. Now Stillman has transformed his film about the lives and loves of a group of twentysomethings in the early 1980s into a witty and engaging novel. The story opens with several of the main characters, including the narrator, Jimmy, worrying about whether or not they will get into one of New York's exclusive nightspots, known only as "the Club," where the bouncers handpick those they will let in each night, so as to create a kind of artificial population of their own making. The young frequenters, awkward but much-adored Alice and cruel but insecure Charlotte and their friends and lovers, try to adjust and thrive as their world shifts around them and one era jarringly gives way to the next. Stillman's characters are as alive on the page as they are on screen. Like the movie, this first novel is a small gem. Kristine Huntley
Copyright © American Library Association. All rights reserved

Most helpful customer reviews

23 of 23 people found the following review helpful.
Astounding and Beautiful
By Robert Wellen
When I saw this book on Amazon's site as coming soon...I ordered it blindly. I had no idea what I would be getting (this was august) and it took me several months to get to it. Any new Stillman project is like music to my ears (pardon the horrific pun). He takes 4 years between movies and this was something new(ish).
Stillman's movies have been compared to Woody Allen many times, notably by Roger Ebert. While it is unlikely you will find a bigger Woody Allen fan than yours truely, I think the comparison is off the mark. Perhaps they both deal with similar comedy of manners and city life, but Stillman is not Allen. That is a good thing. Stillman, clearly influenced by many sources, is an original voice.
The other reviewers have done an outstanding job of explaining this extraordinary novel. We all say, "the book was better than movie" but when has a book been written after the film, by the screenwriter and turned into a novel that smoothly references the film? Got me. The book WAS better than the movie, but that is besides the point.
I watched the film (for the 3rd time) shortly before the I read the book. While I found the actor's images in my mind, it also made the references to the movie much easier to recall. They work best as companion pieces. I loved getting to know Jimmy, a really good guy. The book was moving and made me nostalgic for the early '80s when I was 6 or 7 and my own growing up years. Stillman touched a nerve. Even if you don't enjoy Stillman, you might enjoy the book.
By now, Stillman's signature style is well known. Ingenious dialogue,confused, but good young people. The film triliogy (Metropolitan remains the masterpiece) is now done, but what a way to end. I loved this book so much. This is not a very clear or literary review, but something about this book struck me very deeply. Not since Nick Hornby has a writer struck me like this. I find myself thinking it over often and looking forward (as I often do with his films) to reading it again.
I particularly enjoyed hearing what had become the characters in the "cocktails at the Petrossian" and "epilogue" sections. Fascinating revelations and lessons. I wonder, what happened to Charlotte? That we never know. No matter.
Poignant, hilarious, and fascinating. Read it. You will be changed.

16 of 18 people found the following review helpful.
Ingenious Novelization Reveals Strengths, Shallowness
By Dave Miller
Ever had a hankerin' for Hemingway? Or found yourself fixin' for some Fitzgerald? Sure, you could go back and reread *The Sun Also Rises* for the fifth time. Or *The Great Gatsby* for the seventh or eighth. But why bother when you want something new, something fresh, something that captures that same decadent ennui while referencing Chic's "Good Times" and Evelyne "Champagne" King's "I Don't Know If It's Alright"? Now, I'm not saying Whit Stillman's debut novel(ization) deserves automatic entry into the canon of Western literature. However, as a refreshing tonic of socio-sexual commentary, I assure you it can't be beat.
Here's what I like most about this novel: The narrative concept. Yeah, I saw the movie and liked it. (If you saw the movie and hated it, move on.) But the movie confused me at times, because -- quite frankly -- most of the male characters looked so similar that I kept confusing them. But, but, but...in the book, Stillman ingeniously casts fictional character Jimmy Steinway as the first-person, omniscient narrator -- with full knowledge of the movie, its script and various other background materials that the film's producers supposedly and graciously granted him. (Not to mention about twenty years of hindsight.) So Steinway can not only tell his side of the story, poor sod, but also elucidate many other goings on, including events to which he himself was not privied.
Long story short, this is indeed a retelling of the film that reveals all the strengths and weaknesses of the original story. The strengths being, first, great (great, great) dialogue. I found myself *thinking* like Stillman's dialogue for hours after I put down the book. Second, the novel (and film) present a very dignified and righteous defense of disco culture. Who knew? I grew up hating disco, believing it fake, stupid and empty like any red-blooded rock 'n roller. How enlightening to learn that disco, like any genre, had its artistes and its scam artists. And, y'know, it's true -- who really dances anymore? Nowadays, you're either thrown to the floor in a mosh pit or trampled to death by hundreds of ecstasy-whacked ravers trying to get the DJ's autograph.
The weaknesses? Well, as in the movie, you really must focus at times to keep the male characters in order. (The ladies aren't so difficult, their characters are clearly drawn and, uh, rounder.) And in the novel as well as the film, the lawyerly character Josh's sudden emergence as the story's driving force took me off guard. He seemed to emerge out of nowhere as this very important sympathetic character well after I'd already settled on Des McGrath and Jimmy as the major players. And, perhaps fittingly, Josh disappears in the very end -- leaving us with Des and Jimmy. Also, the lack of resolution among the characters leaves one a tad aching but, maybe that's a strength in disguise.
To sum up, I guess I'm saying the characterizations were a little shallow. But that's a minor criticism when set against the great verbal repartee and succinct, delightful descriptions of early-80s New York nightlife. Wilt Stillman has done what few writer/directors dare -- dig deeper into one of his movies, not via a sequel, but in the pages of a novel. That's a brave, brave deed, and one well worth an interested reader's time.

12 of 13 people found the following review helpful.
Superb
By wordtron
An unusual novelization of a film after its theatrical release, that also happens to be written by its director/writer. By telling the story of the movie from the point of view of one of its characters -- who knows about the movie, its script, and various other background materials -- The Last Days of Disco, with Cocktails at Petrossian Afterwards actually improves upon what was an excellent, enjoyable film to begin with. But don't be concerned that this is some trite post-modern, deconstructionist gobbledygook, because Stillman is just as talented a novelist as he is a filmmaker, and he allows the wonderful, affecting story about a group of young people finding their way in the world hold center stage. Set against his marvelous descriptions of New York City at night, and its early 1980s club scene, along with the great dialogue Stillman's films are known for, Stillman's novelization of his own film succeeds greatly on its own.

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~ Free Ebook Becoming Mae West, by Emily Wortis Leider

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Free Ebook Becoming Mae West, by Emily Wortis Leider

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Presents a provocative portrait of the early life of the dynamic actress whose scandalous career transformed the entertainment and film industry of the 1920s and 1930s and made her into a cultural icon, in a biography complemented by thirty-two pages of photographs.

• Sales Rank: #1662442 in Books
• Published on: 1997-06
• Original language: English
• Number of items: 1
• Dimensions: 10.00" h x 6.50" w x 1.50" l,
• Binding: Hardcover
• 431 pages

Amazon.com Review
She was the Madonna of her time, parlaying a modest talent into international celebrity with a carefully cultivated, outsized personality and an unerring instinct for just how outrageous to be without alienating her audience. Mae West (1893-1980) crafted the persona that made her the biggest movie star of the early 1930s during her vaudeville and Broadway apprenticeship. Those formative years are the subject of this absorbing cultural biography, which closes in 1938 when Paramount dropped her contract. A generous sampling of West one-liners adds sparkle to the text.

From Library Journal
Leider (California's Daughter: Gertrude Atherton & Her Times, LJ 11/15/90) traces West's development from child performer to coltish shimmy dancer to the drawling, wise-cracking persona recognized today. The author's focus on West's early career allows her to examine significant changes in American culture as the population became predominantly urban and the new media of film and radio began encroaching on established forms of entertainment. Yet the heart of the story is West, already a veteran performer with over 30 years' experience when she arrived in Hollywood. But once West honed her persona, she was reluctant to deviate from the successful formula, stifling her arresting creativity and originality. This combined with perennial censorship problems caused the decades-long break in her film career. Recommended for large public libraries and subject collections.?Marianne Cawley, Enoch Pratt Free Lib., Baltimore, Md.
Copyright 1997 Reed Business Information, Inc.

From Booklist
Mae West is best remembered for her vampy one-liners, but she was more than a sexy comedienne, she was a pioneering woman artist who challenged the hypocritical sexual mores of her times. Thanks to the first-time publication of three of her once scandalous plays earlier this year , and now this eye-opening, candid, lushly detailed, and immensely entertaining biography covering the first half of West's daring and creative life, readers can appreciate the full range of West's controversial accomplishments. Born in Brooklyn in 1893, West began performing at age seven, dropping out of school and deliberately avoiding the entanglements of love, marriage, and motherhood (but not the joys of sex) to devote herself entirely to her career. West enjoyed fame and made plenty of money, but her true mission was to present her beliefs in sexual and artistic freedom, racial integration, and gay rights in as funny and diverting a manner as possible. Leider has done a splendid job of presenting the woman--mind and soul--behind all the glitz and sizzle, making West an even more compelling figure than before. Donna Seaman

Most helpful customer reviews

0 of 0 people found the following review helpful.
:)
By C V
great book

6 of 12 people found the following review helpful.
Barely scratches the surface..
By Shannon Miller
This book gives a sketchy account of her childhood and dwells on the characters she played rather than who she was. I would have preferred more insight to her personal life since that is what made Mae West so interesting.
An easy book to put down.

8 of 8 people found the following review helpful.
Becoming Mae West Revisited.
By R. M. Desjardins
During the eleven years that have elapsed since Emily Wortis Leider's Becoming Mae West was published, three full biographies and a serious examination of West's early dramatic output have appeared. Leider hit the nail on the head when in her final analysis of West's impact on popular culture, she stated "Mae West continues to stop traffic at the risky intersection of Vamp and Camp."
Despite the fact that in the ensuing years biographers have been able to access West's papers donated to the Margaret Herrick Library in Los Angeles, and improved access to information due to the digital revolution, Leider's examination of the life and times of Mae West still stands head and shoulders above the recent crop.
Perhaps the key to Leider's success in bringing West to life is the attention to detail in describing the context of her initial successes and failures. Painting word pictures of Broadway and Hollywood offers the reader a perfect time frame to delve into the triumphs and roadblocks that West faced and ultimately helped her hone the Diamond Lil persona to perfection.
The one consistent shortcoming of Mae West biographers is the lack of light shone on the last two decades of her life. To this reviewer, it was the pop priestess of camp's reinvention and refusal to be left behind in the dust that makes the final chapter of the Mae West story so fascinating. Beefing up this aspect of West's legacy would greatly enhance this biography.
In light of the current hoopla surrounding the most recent examination of West's life, Leider's scholarly research becomes much more relevant and deserves to be reprinted in an updated edition.

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!! PDF Download Giacometti: A Biography, by James Lord

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The work of one of the towering creative spirits of the century, Alberto Giacometti's visionary sculptures and paintings from a testament to the artist's intriguing life story. From modest beginnings in a Swiss village, Giacometti went on to flourish in the picturesque milieu of prewar Paris and then to achieve international acclaim in the fifties and sixties. Picasso, Balthus, Samuel Beckett, Stravinsky and Sartre have parts in his story, along with flamboyant art dealers, whores, shady drifters, unscrupulous collectors, poets and thieves. Women were a complex yet important element of his life--particularly his wife, Annette, and his last mistress and model, Caroline--as was the intimate relationship he shared with his brother Diego, who was both Alberto's confidant and collaborator.

James Lord was personally acquainted with Giacometti and his entourage, and combines firsthand experience with a unique knowledge gathered during many years of observation and research. In this exceptional biography Lord unfolds the personal history of a man who managed to achieve a heroic destiny by remaining utterly true to himself and to his calling.

Giacometti: A Biography was nominated for the National Book Critics Circle Award. James Lord has subsequently published three volumes of memoirs. In recognition of his contribution to French culture he has been made an officer of the Legion of Honour.

• Sales Rank: #1303120 in Books
• Published on: 1985-09-01
• Original language: English
• Number of items: 1
• Dimensions: 9.48" h x 1.64" w x 6.50" l,
• Binding: Hardcover
• 575 pages

Amazon.com Review
James Lord met Swiss-born sculptor Alberto Giacometti (1901-66) in 1952, when he had moved beyond the mysterious surrealist works that first won him fame (The Palace at 4 A.M.) to the spookily attenuated figures that made him a preeminent profiler of existential unease. Lord astutely chronicles this transformation, and the evaluation of Giacometti's formidable personality is notable for its sensitive delineation of his ambivalent feelings toward women. Without scanting the sculptor's tragic view of life, the author also inspires exhilaration with his portrait of a man who was always true to his art.

Review
"Lord has written the most moving biography of a modern artist I've read."--Newsweek

"Succeeds in every way as one of the most readable, fascinating and informative documents, not just on an artist, but on art and artists in general."--The Washington Times

About the Author
James Lord first went to France at age twenty-one as a member of the Military Intelligence Service during World War II. Since then he has spent the major part of his life in Paris, where he has been acquainted with many of the most prominent members of modern European art. In recognition of his contribution to French culture he has been made an officer of the Legion of Honour.

Most helpful customer reviews

7 of 7 people found the following review helpful.
highly informative, but not incisive
By A Customer
Scrupulously researched and intelligently written, Lord's biography of Giacometti is cleary a labor of love. Anyone seeking a compelling and articulate account of this artist's life will not be disappointed. The b&w photographs of Giacometti's family, intimates, and major works are well-chosen.
Yet the book is not without its problems. The author's prose stylings can seem somewhat oblique and hi-falutin; on occasion his weakness for facile psychoanalysis of his subject nearly undermines the entire project. For all the book's detail, it's curiously difficult to get a sense for how this artist viewed himself in the world. Did Giacometti consider himself a sophisticate? a bohemian? an artisan? an iconoclast? a failure? This is a polite, somewhat aloof biography of a passionate man.
Lord ably describes the evolution of this artist's process and work, and places it in clear historical context. Yet readers seeking a more incisive appraisal of Giacometti's aesthetic achievement might do better to turn to works by David Sylvester or Yves Bonnefoy ... Still, this is an accomplished, considered, well-crafted, and intelligent biography.

4 of 4 people found the following review helpful.
Interesting "writerly" biography
By Stacey M Jones
This book about Alberto Giacometti's life, from his boyhood in Switzerland, to his successful career in Paris, is an interesting read not only on the artistic level, but also on a personal level. This book presents Alberto's unique eccentricities and habits, his moral code, his issues with women, and his friendships (which include Simone de Beauvoir, Andre Breton, Andre Derain, Pablo Picasso and Jean-Paul Sartre) in a complete and exhaustive manner. It also recounts his complicated and close relationship with his brother and collaborator Diego. It was truly illuminating about the life of such an incredible artist.
However, the writing style is pretentious and sometimes so "writerly" as to be opaque. Lord dissects the actions of the people he writes about in a sometimes pompous way, and he is none too kind to the women in Giacometti's life.
But I recommend this book to people interested in Giacometti, as well as to those who like to read about the Parisian intelligensia around WWII and into the 60s.

6 of 6 people found the following review helpful.
Getting In Touch With Giacometti
By A Customer
When I started with this biography I knew little of Alberto Giacometti. To me he was a sculptor of tall lanky figures. Mr. Lord's book gave me a complete look at the man as artist/sculptor, man of genius and flawed individual. It points out the power of absolute focus on a personal goal. Anyone wanting to know of the artist in a personal way will enjoy this biography. The reading of the book was enjoyable albeit a few times getting too wordy with descriptions of motives for Mr. Giacometti. If I would flaw the book however it would be for a lack of illustrations of the artist's work. There were some pictures of the work but with such a complete biography it would have been nice to have a more complete coverage of the artist works, drawings, paintings and sculpture.

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!! Download PDF Black Zodiac, by Charles Wright

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In a new anthology of poetry, the author of Chickamauga lyrically contemplates the themes of faith, religion, heritage, and morality.

• Sales Rank: #2167342 in Books
• Published on: 1997-04
• Original language: English
• Number of items: 1
• Dimensions: 8.50" h x 6.00" w x .75" l,
• Binding: Hardcover
• 85 pages

Amazon.com Review
"Time and light are the same thing somewhere behind our backs," Charles Wright supposes in "Meditation on Form and Measure." That's just one line from one poem in this fine collection, but it goes a long way toward capturing the flavor of the project. These poems are investigations into the Big Truths, but they're carried out with a subtle sense of mischief as well as reverence. Poetry refers to the "sheer wisdom" in Wright's work, and Helen Vendler writes that he "never ceases to astonish."

From Library Journal
In the magisterial opening poem, "Apologia Pro Vita Sua," 1983 National Book Awrd winner Wright claims, "Journal and landscape/ ?Discredited form, discredited subject matter?/ I tried to resuscitate them both, breath and blood,/ making them whole again." It's an apt description of his poetry, which reads like a slightly mad, language-drenched tour of a variety of odd but tantalizingly familiar landscapes (the word comes up constantly): "Midsummer. Irish overcast. Oatmeal-colored sky"; "shank of the afternoon, wan weight-light"; "these few sad stains/ Stuck to the landscape/ December dark"; "Nothing is flat-lit and tabula rasaed in Charlotteville"; and, finally, "Milton paints purple trees. Avery./ And Wolf Kahn too./ I've liked their landscapes." It feels like cheating to write a review that's half quotations, but Wright's luscious jumble of language simply must be experienced first-hand. Along the way he admonishes: "Before you bear witness/ Be sure you have something that calls for a witnessing." These poems bear witness to a rich and contradictory world (told, as it should be, at a slant), and they must be witnessed themselves. Highly recommended.?Barbara Hoffert, "Library Journal"
Copyright 1997 Reed Business Information, Inc.

From Booklist
Wright, poet of the Blue Ridge Mountains and displaced child of the Far East, gathers his muses (saints and artists) around him as he ponders the universe and our puzzle-piece place within it. He writes, "It's all about lonesomeness," but the lushness of his lines makes lonesomeness seem sweet, even noble. Wright finds fresh meaning and comfort in all the traditional tropes--never-ending sky, emptying clouds, and the steady, silent decomposition of all that once lived and that will live again--then leaps beyond the organic and observes, "Time and light are the same thing somewhere behind our backs." And later, "Time and light become one somewhere beyond our future." Wright asks if memories are best kept or lost and how we can identify "the determining moments of our lives." He concludes, finally, that for us, the species of the word, "Description's an element, like air or water." And Wright is, without question, wholly in his element in these gleaming pages. Donna Seaman

Most helpful customer reviews

14 of 16 people found the following review helpful.
Pretty Solipsism
By Paul Frandano
I am new to Wright's work, but in very little time, I felt like an old familiar. Critics will call his subject matter what they will--Wright's characteristic "issues," "concerns," obsessions," "interests," "passions"--and will either praise or damn him for working/reworking/rerereworking related materials. I found many powerful images powerfully rendered, and instances of beautiful writing. Wright is, moreover, a fine aphorist and a cunning dialectician--"What we refuse defines us"--who will appeal to those who toiled to master those difficult authors. That said, overall, Black Zodiac in my estimation falls well short of meriting the almost universal acclaim accorded by the professional poetry fraternity/sorority (it is wholly unoriginal of me to observe that this is a customary rewark bestowed on the work of long persevering colleagues). Wright gives us entirely too much on his personal sacrifice: the impossibility of poetry, the indescribability of a nature and landscapes that surpass our small rhetorical ability to encompass, the hackneyed insistence that "a line of poetry's a line of blood" (Yes, YES! Fight on, regardless of the toll one's fragile psyche must endure), on custodianship of The Word, on the meaninglessness of it all, despite...and still. Come on. I'd like to read more of Charles Wright's work, and will--if only to try to get to the place where Helen Vendler, Harold Bloom, and others of his admirers view him--and I expect to encounter his "characteristic subject matter": landscapes, clouds, ash (and lots of it), -wash, Chinoiserie, light/dark juxtapositions, recollection and loss, and ruminations on meaninglessness and mortality that come knee-high to Philip Larkin's second best writing. But I also expect a payoff in beautifully sculpted phrases and a few aphoristic nuggets.

4 of 4 people found the following review helpful.
Language is the key...
By Sam Rasnake
Charles Wright, while the 20th century was settling down to its own special oblivion, silently has become one of America's most important poets. His love for language is always evident in his writing. I have come to welcome his poetry into my world. I know that before I am through with a Wright poem I will come across a line so perfect I will want to weep. Black Zodiac, in keeping with Wright's upward surge, is a brilliant piece of work. This volume is part 2 of a trilogy he began with Chicamauga. Years from today the world will look upon Wright as, perhaps, America's most important poet and surely will consider Black Zodiac as one of his most important works.

1 of 25 people found the following review helpful.
Charles Wright kills the dead art dead
By A Customer
Precisely what's wrong with most poetry written in the university. P-p-p-painful.

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! Fee Download The Laws of Our Fathers, by Scott Turow

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A drive-by shooting of an aging white woman at a gang-plagued Kindle County housing project sets in motion Scott Turow's intensely absorbing novel. With its riveting suspense and idelibly drawn characters, The Laws of our Fathers shows why Turow is not only the master of the modern legal thriller but also one of America's most engaging and satisfying novelists.

• Sales Rank: #362658 in Books
• Published on: 1996-10-18
• Released on: 1996-10-18
• Original language: English
• Number of items: 1
• Dimensions: 9.21" h x 1.19" w x 6.14" l, 1.92 pounds
• Binding: Hardcover
• 534 pages

Features

• hardcover
• english language
• free gift wrap

Amazon.com Review
At the close of legal-thriller novelist Scott Turow's second book, The Burden of Proof, Sonia Klonsky was a young prosecutor in Kindle County Courthouse with a failing marriage, an infant daughter, and a single mastectomy. Now, as the narrator of Turow's latest novel, she's a Superior Court Judge presiding over the murder trial of one Nile Eddgar, accused of arranging the slaying of his ghetto-activist mother, June. Turow attempts a sort of social history of the 60s in this ambitious mystery, but the most vivid passages come when the gangbangers of the Black Saints Disciples take center stage.

From Library Journal
Turow once again proves that there is more substance in a single page of one of his novels than in the entire works of John Grisham or any other author in the legal thriller genre. In this latest, the mother of a probation officer is shot near a gang-infested housing project, provoking charges that her son orchestrated the killing. The ensuing trial reunites a group of affluent Sixties activists who knew each other in their student days. The courtroom scenes are energetic and intelligent, and Turow never resorts to playing good guys vs. bad guys. Nor does he subject his characters to tearful, revelatory testimony while on the stand. His dialog is snappy and believable?aside from some awkwardly rendered sections featuring the leader of an urban street gang?and his insight into his characters' petty motivations and misplaced love is dead on. All public libraries should have a copy of this fine novel.?Mark Annichiarico, "Library Journal"
Copyright 1996 Reed Business Information, Inc.

From Booklist
With the same masterful narrative technique used in his previous best-sellers, Chicago attorney Turow delivers another dense, exciting legal thriller. The setting is his usual fictional Kindle County, and we revisit Judge Sonia "Sonny" Klotsky, last seen in The Burden of Proof (1990). Sonny, a newcomer to the bench after the district cleared out numerous corrupt justices in the latest sting, finds herself sitting as judge in a high-profile murder case--a juryless bench trial, no less. Although confident in her knowledge and application of the law, Sonny feels an incessant knot in her stomach over being the sole arbiter of the lives of heinous though pitiful defendants. Only adding to her inner struggle is the fact that this particular trial--where a senator's son allegedly had a hand in murdering his mother when he was, in fact, trying to kill the senator himself--becomes something of a reunion of 1960s college chums, for Sonny was in a virtual commune with the defendant and his family, the defense attorney, and, most poignant of all, her former lover turned journalist. Turow, while telling a fascinating crime story, skillfully turns the book into a tale of love and loss, of family and friendship. Expect much demand. Mary Frances Wilkens

Most helpful customer reviews

58 of 60 people found the following review helpful.
Some parts gripping, some parts off-putting
By Brian Reynolds
There is a great 600 page thriller hiding inside the 800 pages of The Laws of Our Fathers. Specifically, I'd suggest losing the last 100 pages and most of the first 100. The central account of the trial is powerful and gripping, and the flashbacks to the sixties are well done as well. The characters, as is usual with Turow, are deep and interesting. But there are LONG detours into what I found to be excessive tangential and background material. This happens on and off throughout, but most of this is concentrated into the last 100 pages of the book, by which time you've already had the climax wrap-up of not one but -both- main plot lines, and you're thinking "and now why do I have to go through ANOTHER 100 pages?" No good reason presents itself (from a thriller reader's point of view) just a lot of wallowing around in characters' minds. I have no argument with those who say Turow (or probably more accurately, this book) "isn't for everyone", or that the book has touches of "literature" as opposed to simply mystery/thriller (One of the editorial review clips called Turow the "thinking man's John Grisham" which gave me a chuckle). But first of all I'd take exception with the view that the "literary" elements were exceptionally well executed, because they do have a tendency to bring an otherwise gripping plot to a grinding halt. And secondly I think it's fair to warn readers looking for a mystery/thriller (even a deep complex one) that it will take 100 pages or so before you start getting what you paid for. I enjoyed this book, but you should go into it with eyes open.

28 of 30 people found the following review helpful.
Less than Presumed Innocent, but better than Grisham.
By A H
Yes, this book is complicated and long. But for those with a keen literary eye, it delivers. I've been so disappointed with recent John Grisham novels that I found the weightiness and substantive content of this Turow novel very satisfying.

I would agree with those who say that this book transcends the genre. This is no mere courtroom drama or legal thriller. It's really several novels in one; the flashback sequences to the 60s could even stand on their own. As a post-60s Gen Xer, I was intrigued with the seemingly eyewitness account of what life was really like back then.

It is possibly true that this book may be a bit long. Yet I was so impressed with Turow's narrative voice and the authenticity of such a diverse cast of characters that it held my interest. A good deal of thought and research went into this one, and it really warrants a more thoughtful read than your average formulaic legal drama. Two thumbs up.

18 of 19 people found the following review helpful.
Great first impression of Scott Turow
By Jan-Robert Holen
"The laws of our fathers" is at times a very challenging book to read, as the point of view shifts both back and forth in time, but also from the perspective of the two main characters; Seth and Sonny. This completely unorthodox method of storytelling does indeed take the reader by surprise, however, once the the reader has gotten use to it, one can start to enjoy the books brilliance.
The paths of former couple, Seth and Sonny, cross during the trial of the murder of a senators wife. The defendant: Nile Eddgar, the son of the senator and the murdered wife. Sonny is the presiding judge, while Seth is a journalist covering the trail.
Turow somehow manages to tell us the story of Seth and Sonny as a couple back in the late sixtees and early seventees, their professional relationship twentyfive years later and the thrilling trail of who killed, and why, the wife of senator Loyell Eddgar.
"The laws of our fathers" provide no good-looking superheros who save the day and ride into the sundown, thank God, but portrays ordinary people with believable thoughts and problems who struggle to make sense the world they live in - the same world we all sometimes find hard to understand.
Highly recomended by yours truely.

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A wonderful new storyteller unleashes a soaring debut that sweeps from the hills of Hawaii to the veldt of South Africa. Come Sunday is that joyous, special thing: a saga that captivates from the very first page, breaking our hearts while making our spirits soar.  Abbe Deighton is a woman who has lost her bearings. Once a child of the African plains, she is now settled in Hawaii, married to a minister, and waging her battles in a hallway of monotony. There is the leaky roof, the chafing expectations of her husband’s congregation, and the constant demands of motherhood. But in an instant, beginning with the skid of tires, Abbe’s battlefield is transformed when her three-year-old daughter is killed, triggering in Abbe a seismic grief that will cut a swath through the landscape of her life and her identity.  What an enthralling debut this is! What a storyteller we have here! As Isla Morley’s novel sweeps from the hills of Honolulu to the veldt of South Africa, we catch a hint of the spirit of Barbara Kingsolver and the mesmerizing truth of Jodi Picoult. We are reminded of how it felt, a while ago, to dive into the drama of The Thorn Birds.  Come Sunday is a novel about searching for a true homeland, family bonds torn asunder, and the unearthing of decades-old secrets. It is a novel to celebrate, and Isla Morley is a writer to love.

• Sales Rank: #3218986 in Books
• Published on: 2009-05-26
• Released on: 2009-05-26
• Format: Deluxe Edition
• Original language: English
• Number of items: 1
• Dimensions: 9.25" h x 1.26" w x 6.39" l, 1.00 pounds
• Binding: Hardcover
• 336 pages

From Publishers Weekly
In her poignant first novel, former South African magazine editor Morley explores a mother's grief. Abbe Deighton, part-time journalist and full-time wife and mother, finds herself living in Hawaii with her preacher husband, Greg, and precocious three-year-old daughter, Cleo, thousands of miles from her South African birthplace. Her flight from an abusive father and complicit mother is not accidental—her poet brother also fled to America—and when Cleo is killed in a car accident, Abbe re-examines the choices that have brought her so far from home. She and her husband become estranged as he turns to God and forgives the man who killed their daughter while Abbe descends into self-pity and anger at the unfairness of life. Their marriage suffers and Greg loses his job, forcing Abbe to turn homeward for financial help. Upon returning to South Africa, she confronts the ghosts of her family's past and the reality of her homeland's future. Morley convincingly depicts a grief-stricken woman without resorting to clichés, and though she telegraphs the resolution of Abbe's plight early on, the storytelling, line by line, is rather beautiful. (June)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
*Starred Review* There are no strategies, no magic words of wisdom that can help a mother cope with the death of her only child, as Abbe so woefully discovers when her three-year-old daughter, Cleo, is killed by a hit-and-run driver. Deluged by grief, Abbe retreats into an angry, cynical world, irrevocably alienating her husband, Greg, an ineffectual minister of a waning congregation in one of Honolulu's poorer neighborhoods. As her marriage dissolves and her misery deepens, Abbe's isolation causes her to reflect on her own tumultuous childhood in South Africa, her parents' violently abusive marriage, and the conflicts left unresolved by their ill-timed deaths. When given an opportunity to return to her homeland, Abbe is forced to confront painful truths about her past and make essential decisions about her future. While stories of parents coping with the tragic death of a child are not new, first-time novelist Morley brings a pathos palpable in its authenticity and a maturity arresting in its conviction. Firmly establishing her in the pantheon of such insightful authors as Chris Bohjalian, Sue Miller, and Anita Shreve, Morley's poignant, read-in-one-sitting tale of loss and renewal will haunt readers. --Carol Haggas

Review

“A heart-wrenching tale of unthinkable loss and hard-won healing. This is a novel to savor.” ―Sara Gruen, author of Water for Elephants

“An arresting, heart-wrenching novel...a phenomenal debut.” ―The San Diego Union-Tribune

“A compelling tale of survival, reinvention, and hope, in the end, Come Sunday is less about the death of a young child as about personal redemption and resurrection.... Vivid and poignant.” ―The Boston Globe

“An intense and ambitious first novel, and an exquisitely detailed exploration of the mother-daughter bond.” ―Los Angeles Magazine

“A debut full of heartbreak and promise...Through her portraits, Morley shows us flawed flesh-and-blood characters we come to care about.” ―Christianity Today

“Morley brings a pathos palpable in its authenticity and a maturity arresting in its conviction. Firmly establishing her in the pantheon of such insightful authors as Chris Bohjalian, Sue Miller, and Anita Shreve, Morley's poignant, read-in-one-sitting tale of loss and renewal will haunt readers.” ―Booklist

Most helpful customer reviews

9 of 9 people found the following review helpful.
Make Sure You Have A Box of Kleenex Close By
By rebelmomof2
When I picked this book to read, I didn't know what I was getting myself into. I definitely did not expect the book to pull at my heart strings like it did. This is a heart-breaking tale of a mother's grief.

Born and raised in Africa, Abbe finds herself married to a minister, who is the opposite of her violent father. Her husband was a minister and very laid-back in comparison, perhaps too laid-back, as the beginning of the book suggests. They're in Hawaii and their little girl Cleo was three years old and very energetic. As any mother knows, raising kids can be mentally and physically exhausting. Then tragedy strikes. A mother wonders if she is still a mother if her child is no longer there.

This book will haunt your dreams at night like it did mine, so don't read it before bed. It is very vivid and descriptive of a mother's grief. Not only did Abbe grieve for her daughter, she also grieved for her mother. In flashbacks, she tells of the abuse her father put on her mother while she was growing up and how she was trying to find meaning of her mother ... trying to reconnect with her mother again even though her mother is long dead. Eventually, Abbe returns to Africa to confront her memories and perhaps put the ghosts to rest.

It is well-written ... and very heart-breaking. I gave it a four star because I cannot "love" a book like this because it stirs up too many emotions. Would I recommend it? Yes, because it is definitely good fodder for book club discussions, and for discussions among friends. Would I read it again? Probably not because it was just too intense and it's not something I even want to contemplate let alone read again. It is not just a book about grief, but finding onself again through the darkness only to find the sun has been shining all along ... one just has to find it. It is a book about forgiveness and grace, and all the things a person must find on their own even in the midst of life's tragedies.

This is a book about life and death; about the resurrection of the spirit long after it thinks it has given up.

4//9/09

7 of 7 people found the following review helpful.
Mazes Past and Present
By Zoeeagleeye
"Come Sunday" is not a book with a straight-forward plot. It is, rather, more like a maze that takes the reader round and round the present and snakes back into the past. Abbe, the protagonist, is obsessed with the accidental death of her little girl, Cleo. That is the door to the maze.

Isla Morley writes well and feelingly, leading the reader deeper and deeper into the tangled web of her family. She gives us insights into family relationships as well as the hidden currents beneath the surface.

For me, the book was sometimes too ordinary in an effort to show the ordinary life of Abbe and Greg. Africa doesn't come into the picture until the book is 3/4's finished. Sometimes the book is crisp and at other times it becomes a besotted soap opera in love with stubbornness, unkindness and self-pity. The side characters are interesting, though, and if you like the emotional turmoil of a woman who thinks too much, and yet not nearly enough, you will like "Come Sunday."

5 of 5 people found the following review helpful.
Slow to unfold, but tugs on your heart...
By R S Cobblestone
Author Isla Morley weaves together a tale of grief and geography, heroism and history, and sin and survival in Come Sunday. Abbe Deighton is a writer, mother, and wife of a minister, Greg, in Honolulu. She loses her little girl, Cleo in a tragic accident. Abbe dissolves into grief, blaming anyone and everyone for their role in Cleo's loss.

This is the first 100+ pages. This constant grieving is a lot to ask the reader to wade through, not that it is unrealistic (I'm sure it isn't for many mothers and fathers), but that there are only so many ways to state that Abbe is unhappy, that she wakes up unhappy, that everything reminds her of Cleo, and that her daily ablutions suffer under the constant bombardment of this grief.

It was enough to seriously consider just giving up on the rest of the novel.

And I'm glad I didn't.

Abbe is a complicated person. She grew up in South Africa, under apartheid, with a seriously abusive father, a battered mother, a famous poet brother, and a secretive domestic aide named Beauty Masinama. I say Beauty was secretive in the sense that she was a 'sangoma', or witch doctor, so she knew the rituals and formulas that are part and parcel of her trade. But when Abbe escaped her father, she left all that behind.

She thought.

Morley skillfully crafts a tale that connects lives halfway across the planet, meshing Abbe's sophistication with ancient traditions. When Abbe is put to the test, there are times she fails, miserably and terribly, but Abbe rises to the task in other occasions. Isn't that human of her?

There was an unevenness in how Morley characterized Hawaii and South Africa. Being more familiar with Honolulu myself, I expected to recognize places and "characters." Was it me, or was there greater detail and color when Morley described Abbe's adventures in South Africa? Did the intensity of Abbe's grief dilute any need to develop Honolulu more as a place?

This is a book about grief and healing, but it is more than that. We are all tested in our lives. How do we react when we are found wanting? How do we divvy blame? How do we connect the life dots that surround us?

Stick with this book, and you won't be disappointed.

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