From Amazon.com
Bookends, Jane Green's third comic novel of contemporary love and lust, proves beyond a doubt that when it comes to light reading, plot is everything.
Bookends makes a great case study because it has little going for it besides plot. Dialogue? Stilted. Characters? Clichéd. Writing style? Sloppy. And yet the book is well-nigh impossible to put down. A few friends meet at university: Simon, the chirpy gay character; Portia, the glamour girl; Josh, the adorable, unpretentious catch; and Cath, the overweight, insecure narrator. Portia strays from their crowd, but the other three remain friends into their 30s. Now successful Londoners, each faces a personal crisis: singleton Cath leaves a secure job to start a bookstore; Simon looks for love; Josh's marriage goes through growing pains. And then Portia, as intimidating and elegant as ever, wanders back into their lives--with surprising results. Green is a past master of the ugly-duckling-turned-swan story. Cath's transformation--neatly echoed by the changes in the lives of her friends--is completely addictive. Plot does indeed rule.
--Claire Dederer
From Publishers Weekly
Popular British author Green (Jemima J and Mr. Maybe) follows up her two hits with a less sparkling effort that examines the intricacies of enduring friendships. In college 10 years ago, a small group of misfits ¢dowdy Catherine, gay Simon, cute naOf Josh and his object of affection, the regally beautiful Portia¢were best friends. After a messy split from Portia, the others have continued their friendship without her. While promiscuous Si and celibate Cath have lousy luck with men, Josh is happily married to earthy Lucy. The members of the tightly knit quartet commiserate about extra body weight, job dissatisfaction and the search for love, but are basically content¢until Portia reenters their lives and threatens their stability. Green touts her return as almost sinister, but the forecasted tornado ends up a mere zephyr. The novel opens with a promising bang, only to peter out before fulfilling its potential. Green has a knack for creating both atmosphere and characters that ring true, but the dialogue is sometimes strangely stilted and does little to propel the oft-meandering plot. There are some bright spots, like Cath's blossoming relationship with dreamboat James, but they are too few and far between to steady the pace.
Copyright 2002 Cahners Business Information, Inc.
