From Amazon.co.uk
Joanna Scott, much lauded for her 1997 gothic,
The Manikin, sloughs that novel's gloom for the less rarefied air of familial torment and interracial romance in
Make Believe. A compact jostling of flashback, shifting angles and hallucinatory impression, her fifth novel is held together by four-year-old Bo, the object of a contentious custody battle after his teenage mother dies in an automobile accident. Through the boy's eyes we see the disorienting kaleidoscope of adult ambition and impotence, as those vying for him try to sort out not only his life, but their own.
When volatile Jenny Templin falls for Kamon Gilbert, she imagines that bearing his child will win her both security and love. But Kamon--artistic, yearning and, much to the displeasure of Jenny's mother and stepfather, black--is killed while Jenny is pregnant, leaving her and the child alone with his sheltering, if overwhelmed, parents. The Gilberts, in turn, seem the obvious choice for guardianship once Bo is orphaned. Jenny's parents, however, struggling with shame and a latent covetousness, win custody of the spirited Bo, casting both families into degrees of disarray.
Scott tells the story in deliberate, even tones, frequently cataloguing the broad and disparate panorama of Bo's horizon. What she uncovers is a world where no one is entirely devoid of selfish motivation, where love can be equal parts affection and, sadly, make-believe. --Ben Guterson
From Publishers Weekly
Unafraid to take risks, Scott (The Manikin) is a resourceful writer who explores new territory each time she writes fiction. Here she establishes a dramatic situation at the outset, and uses flashbacks to flesh out the characters whose actions will determine the fate of a precocious, wary four-year-old boy of mixed racial parentage. He is Bo Templin, whose stream of consciousness Scott enters as he hangs upside down, hurt and frightened, in the car his mother, Jenny Templin, has just crashed, resulting in her death. Bo knows he's a "shining brown boy" whose African-American father, Kamon Gilbert, died before he was born; he's been cherished by his paternal grandparents, Erma and Sam, but Jenny's own mother, Marge, and her stepfather, Eddie Gantz, have not made any attempt to see Bo since his birth. When Bo is released from the hospital after an emergency operation for a ruptured spleenAa potentially lethal injury that initially went undetected after he was rescuedAthe loving Gilberts take him in. But then Eddie perceives that if he and Marge win a custody battle for Bo, they could sue the hospital for negligence. Scott omits the court case, which somewhat undermines her story, because it seems unlikely to the reader that Bo would be awarded to his maternal grandparents; but this indeed occurs, on the assumption that a white couple would be perceived as more stable than a working-class black family. Bewildered Bo intuitively perceives that sanctimonious Eddie Gantz hates him; his attempt to escape Eddie's wrath leads to a stunning denouement, both tragic and redemptive. With stylistic gracefulness and technical assurance, Scott allows all the charactersAincluding little BoAto visualize their fantasies, capturing both their wishes and their fears in vivid imaginary scenarios. Depicting their emotional histories with empathy, she grants integrity to people trying to lead decent lives amid hardships. Her attempts to describe events through Bo's eyes sensitively reflect a child's innocent, flawed understanding of the world. This is a compelling story that will leave readers haunted by Scott's powerful moral vision. (Jan.)
Copyright 1999 Reed Business Information, Inc.
--This text refers to an out of print or unavailable edition of this title.
