Despite quibbles, a fine read that lays bare a less-than-glorious side of America’s recent past. Fans of courtroom dramas...
A detail-rich novel about an Arizona murder trial, prejudice, and American culture in the late 1950s.
Without question, María Sánchez Curry killed her husband, Ben, with whom she fought all the time. Indeed, she “had never seen him so peaceful” as when he lay dead with a kitchen knife in his chest. María is arrested and charged with first-degree murder. She had feared for her life and insists she didn’t mean to kill Ben. Judge Morton assigns the unwilling Michael Shaw to defend her. Michael is a hard-drinking lawyer deeply unhappy with his wife, Jenny, and his job at his father’s law firm. But no matter, he says. “My clients never know I’m hung over. I’m that good.” The court assigns Antonia Teresa “Toni” García as a translator so that Spanish-speaking María and English-speaking Michael can understand each other. In time, Michael and Toni fall in love, with abundant complications following—their affair gets everyone’s notice, including his father’s and his wife’s. Viewpoints shift frequently, showing the deep anti-Mexican attitudes in the community. Many think the “white” Ben should never have married a Mexican anyway, that the Mexicans are just here in America to cook and clean. The courtroom scenes feel realistic, and many descriptions are beautifully done. There's plenty of back story, and the plot doesn't hurtle forward like a courtroom drama generally does. While these digressions slow the pace, they are never long, and they provide depth for the more important characters. María and Toni seem the most true-to-life, while Michael is the smart gringo attorney with more than the usual emotional baggage.
Despite quibbles, a fine read that lays bare a less-than-glorious side of America’s recent past. Fans of courtroom dramas will enjoy it as will anyone who enjoys a meaningful story.Pub Date: March 30, 2016
ISBN: 978-1-55885-823-7
Page Count: 320
Publisher: Arte Público
Review Posted Online: Jan. 9, 2016
Kirkus Reviews Issue: Jan. 15, 2016
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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