From Publishers Weekly
Owing to a head injury he suffered 16 days into his Vietnam tour, Howard Kapostash, the narrator of King's graceful, measured debut novel, can neither speak, write nor read. Now middle-aged, Howard lives a lackluster existence in the house where he grew up, along with housemates Laurel, a Vietnamese-American maker of gourmet soups for local restaurants, and two housepainters—essentially interchangeable postcollege jocks—whom he refers to as Nit and Nat. But everything changes when Sylvia, the former girlfriend he's loved since high school, heads to drug rehab, saddling Howard with Ryan, her taciturn nine-year-old son. What happens over the course of the next couple hundred pages will not surprise readers—slowly, Nit and Nat learn responsibility, Laurel discovers her maternal side, Ryan opens up and Howie learns about life and love amid school concerts and Little League games—but it is lovingly rendered in careful, steady prose. Like Michael Cunningham's
A Home at the End of the World, the novel explores familial bonds arising between people with no blood ties, and if the novel lingers too long on its notes, thematic and otherwise—Howard often ruminates on the nature of his injury and the things he'd say if he could; his days vary little—it does so with poise and heart. Drama arises with Sylvia's return and Howard nearly loses it, but life and healing are now forever possible.
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Both tough and sweet, this debut novel concerns a brain-damaged Vietnam vet who loves a coke-head single mother with whom he once had a drug-soaked affair. To this day, though he's clean and sober, he still can't say no to her. So when she's hauled off to rehab, he accepts care of her 9-year-old. Of course, what follows becomes a life-altering experience. Maybe he can barely speak, maybe he sound like an idiot, but he has no trouble articulately telling his story with, thank goodness, a sense of humor. The fine stage and screen actor Terry Kinney gives voice to our hero--a dull one unfortunately. Kinney merely recites the words, getting the phrasing right, but expressing few values and little energy. He comes to life only during the more dramatic dialogue. Y.R. © AudioFile 2005, Portland, Maine--
Copyright © AudioFile, Portland, Maine
--This text refers to the
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