Albee creates full characters with quiet drama
584659
One poor actor would ruin this "balanced" work.  The play on paper is nearly perfect;  now to see it performed!
3157978
The first third of this book was monotonous, too much time spent on setting up the scene for the key players.  When it finally does swing into action, it moves right along with good characterization and lots of drama.  The element of surprise is nicely woven into the lives of people hoping to live the good, normal life of having friends, kids, and a safe environment.  This is not happening as all get caught up in selfish pursuits.  Satisfying ending.
4191982
Kim Vogel Sawyer writes books of the heart, filled with characters that soon feel like friends. Sadie Wagner is one such character, one whose devotion to her family and her innocence make her utterly likeable and one you will be cheering on as she grows and develops. The zany mercantile sisters, Melva and Shelva, are equally fun to meet, providing many moments of hilarity.  Unfortunately, I found that Sadie's cousin, Sid, and his unwanted attention towards Sadie made up a character who annoyed me at every turn. Because of his ongoing childish behaviour, I found myself wanting to skip over scenes including Sid (of which there are many) and as such my enjoyment of the story suffered. I did enjoy, however, the drama that unfolded with the rest of the plot elements such as the illegal distribution of liquor, blackmail, and the pressure Sadie faces to compromise her morals.

I mostly appreciated that, as with Sawyer's other novels, Song of My Heart glorifies God, bringing to life the beauty of faith and the difference such faith makes in every part of our days and in our deepest being. The novel explores important themes of sacrifice for our families, trusting God and following God's leading, and using our gifts to glorify Him...and not ourselves.

I have no doubt that readers who have enjoyed past works by Sawyer will find themselves at home meeting Sadie and Thad and following their journey. For myself, I can't say I enjoyed this novel as much as I have some previous ones, such as In Every Heartbeat. I mildly recommend this book and give it 3 out of 5 stars.

Book has been provided courtesy of the publisher and Litfuse Publicity Group for the purposes of this unbiased review.
1461730
In the tradition of Anthony Trollope, Rowlings develops a seemingly simple situation in small town goverment into a full blown drama.  The story evolves from the various characters' reactions to the sudden death of Barry Fairweather, a man who provided support and stabilzation for many of his fellow citizens. As the story unfolds, these individuals' backgrounds and feelings are revealed.  While some unravel to the point of crash and burn, there are those whose dignity is preserved or restored. I particularly enjoyed the author's technique of revealing, largely through internal monologue, the inner lives and feelings of not only the adults but the adolescents of the town.
3938906
Solomons book is a wry, witty, keen portrait of a hamlet that deserves a wide audience whether or not the reader knows the territory which Solomon certainly does. I could see this as a play or a movie. The book is fun to dip into each night for a dose of the West Marin Coast and her characters. The chapter about the too trusting Trust Fund baby called for more follow-up and commentary from the characters. I enjoyed the tales and the characters, especially Alice and Linda the cop (would have liked to have learned more about her love life) highly recommend this unique, creative work with its light touch and in depth observations. Kudos to Solomon.
1146384
This is what a friend of mine would probably describe as a quiet book, although some of the events are rather dramatic.

Samantha and Frank, a married couple in their forties, have been living next door to an elderly couple for five years when one night their neighbour calls to inform them that his wife has been found dead at a place popular for suicide.

Mr. Mortimer has no nearby relatives or friends to turn to. Samantha, who is known in her family for "fussing", takes it upon herself to support the widower when it comes to making meals, organising the funeral and so on.

At first, everything seems innocent enoough, but then she realises she keeps finding reasons and excuses for seeing Mr. Mortimer on his own, without her husband present. But she loves Frank, doesn't she, and not only is Mr. Mortimer still grieving the loss of his wife, he is also considerably older.
Frank, a long-distance lorry driver, becomes suspicious, and things culminate one day.
I won't tell you what happens, I will just tell you that I found the end bitter-sweet and in spite of the drama, still had the impression of a quiet book, throwing light on the everyday lives of ordinary people.

This was a story I really liked reading. The characters grew on me, and I did want to know what was going to happen to them. Also, when Frank suspects his wife of having an affair with the elderly man, he behaves in a way that made me cringe - I could really feel Samantha's embarrassment and despair. In my opinion, it is a sign of good writing if an author manages to make you feel what his characters feel.

It was my first book by Neil Bastian. According to Amazon, he has written two more books which both sound good.
511369
The book was easy to read, a pleasure really. Characters well written leaving you with new friends and detestable enemies. There is spot on revealing of the psychology of human nature in all of it's glory and darkness that invites the reader into the world crafted by the author. Only sad moment was the rather anticlimactic and abrupt end to the magnificent story of Sadie--Mrs. Wyatt Earp.
389748
This play is so thoughtfully executed.  The dialogue is very natural and the story line is simple and brilliantly told.  Lindsay-Abaire captures an honest glimpse of the way different people deal with tragedy.  He also gives the actors a lot to work with.  I would highly recommend it!
1272117
This is a quiet delicate novel.  Its simplicity is illusionary as it teases out the intricacies and ironies of both genetic and mortal 'passing on'.  Although a watercolour rather than an oil, without romance and heroism, it does have touches of colour, passion and humour as well as a haunting sadness.  The scene at the end is only superficially the same as the beginning: perception has been heightened - for characters and readers.
3615271
My high school son enjoyed it so much that he suggested I read "All Quiet." I'm glad I did, on many levels. This story struck a crucial balance that I want in a book; a perfect mixture of plot development and character development. I ended this novel feeling like I really got to know the main character, his intimate thoughts, and universal wartime fears.
2311269
Cookie's Fortune is about a murder, the investigation that ensues and the long covert secrets that are revealed. The setting is Mississippi, where everybody knows everybody else, and more often then not, everybody is everybody else's cousin. It's the same place where Gene Hackman and Willem Dafoe once hunted down some inbred racist good ol' boys and the ku kux klan in Alan Parker's Mississippi Burning. Even if a black man is taken in for the murder of his white landlady/friend/confidant (or is she?), Altman's peculiar little slice of some very distinct lives is as far away as you can get from that sensationalist film. For starters, the old lady, Cookie Orcutt (Patricia Neal) has, quiet happily, committed suicide to join her departed husband. There has been no murder. The "investigation" involves friendly chats with the local witnesses where the police clerk, a cute wide eyed young woman ponders complex questions in the vein of "How can I strike Eddie's statement from the record. I'm recording this, not writing it". Meanwhile, the "suspect", the immensely amiable Willis (Charles Dutton) sits in an open cell, playing scrabble with the police chief Lester Boyle, who believes Willis to be innocent because he has "fished with him". The suspect's stay is so relaxed that he complains that he may die from the lavish prison food, incidentally cooked by the Police chief's wife, before he gets anywhere near an electric chair.
In an Altman film, the setting is almost as important as his numerous characters. In this case, it is Holly Springs, with its staples and archetypes. The camera wonders around town, lazily observing them, slowly revealing the plot, which is obvious and serves only to highlight those archetypes. The story, which, despite a couple of twists near the end is just an excuse to observe this inbred, particular architecture of inter-locking relationships. There is Camille (Glen Close), Cookie's niece who discovers Cookie's body and eats the suicide note because "no one commits suicide in this family". This is her contribution to the plot, more important to Altman is the fact that she is a pompous, elitist eccentric who is currently directing a "revised" Oscar Wilde's version of Salome for which she shares a writing credit. Her sister, a ravishing moron, Cora(Julianne Moore)is the star who could hypnotize a bull in heat with her "performance". Cora's daughter is Emma (Liv Tyler), a free spirit who rejects her family, and is in love with a local doofus cop, Jason Brown (Chris O'Donnell) who in turn is acting her deranged aunt's play. And so goes the circle.
The town of course is comically under prepared for a murder investigation. Much of the humor comes from the way these people's child-like reactions to what other more cynical movie characters would react with requisite formality. In truth the film is difficult to classify. Partly a comedy of manners or a gentle farce or a tour of a deep fried utopia even a tale of one man's camaraderie with his town. It has a lightness of touch, that would make those frenzied, desperate young directors jealous. After the useless, Grishamed, plot-driven Gingerbread Man, I think the best classification for this little gem would simply be "A Robert Altman film".
4648658
David Hare's play unfolds in a single set with only two characters, but "The Breath of Life" is anything but simple.  Frances arrives at the seaside Victorian flat where Madeleine lives in the relative bliss of being single and accountable to no one.  Francis is a mother of grown children and a novelist who has all the responsibility that Madeleine eschews.  These women, while sharing little in common on the surface, have the enormous bond of having loved the same man, one as mistress and the other as wife, and of having lost him to a mysterious American woman.  With Francis planning on writing a memoir, Madeleine is at once on guard.  As the two circle each other warily, much about their lives and their philosophies simmer under the surface, occasionally bursting forth in small, meaningful gasps.

Hare imbues his play with intricate yet subtle emotions that make this play riveting to read.  His biting exploration of the difference between fiction and nonfiction, as it applies both to his characters and the audience, is never forced and always significant.  The real life of this play comes from the superb dialogue and the in-depth characterizations, making it an excellent showcase for actresses skilled enough to bring the nuances of character to the stage.

Originally staged in London starring Judi Dench and Maggie Smith, "The Breath of Life" must have wowed audiences, as I cannot imagine better casting.  If you can't see a production of this wonderful play, read it and imagine since even in text form it has tremendous life.
3598745
Usually I talk about the writing first in these things, but today Im shirking the formula and going directly into Patrick Reillys art, because its the first thing youll notice. It has a painterly style, with muted desert colours and solid, weighted lines. There are times when the facial expressions suffer some because of that necessary solid-ness, but overall the book looks great, especially during action scenes. The poses, despite the heaviness of the colouring, have a great long-limbed sense of careening motion when Aladdin is running for his life, which he does often, or throwing a punch or a kick. The women sometimes fall into stiff faces and overly pretty poses, and the backgrounds tend to default to blandness against the very detailed character designs, but overall the issue looks great where it counts.

Writing-wise, its about what youd expect. Edginton doesnt take any real chances or deviate too much from the Aladdin story as most people probably know it. That being said, while its a straightforward story without any surprises, its told solidly and without any major stumbling blocks. Characterization is consistent, the story builds at a satisfying pace, and theres a good balance of action, character moments, and plot development. I especially liked the small hints of our princesss personality at the end: she came off as smart and strategic without feeling like a 21st an alternate universe. Im already excited to read more about her!
1427825
Sandy Lesberg has written a dramatic monologue that has Alma Mahler recount her life by discussing her loves and marriages.  Her childhood and relationships with her parents are barely touched on.  The play unifies her life in terms of the male lovers in her life.
The tone is light, and there are many gently humorous moments in the piece.  The style of comfortably conversational.  The play resembles Tom Lehrer's satirical song.

My criticism is that the play asserts that Alma defined herself I. Subservience to the geniuses in her life.  She presents herself as secondary to those men.  My sense of her is more dynamic and more threatening.  I see her as a radiantly sensual force that attracted geniuses, and her energy both motivated them and exhausted them.

Marlin Thomas
Author of Freud Mahler
3817063
Characters are easy to relate to with emotions and actions. Willa and Louis come alive in those pages beckoning for more stories.
1983787
Kathryn Magendie has a way of taking the most quiet, unassuming story, and driving it home, bit by bit, until I feel like sobbing and hugging Virginia Kate to pieces.  One of my favorite things about "southern" writing is how down-to-earth it is, and nothing is more down-to-earth than Virginia Kate and her brothers.

Then there's Rebekha - a woman who embodies everything that is a mother.  She's warm, welcoming, thoughtful, insightful, supportive, loving, and selfless.  With this character, Kathryn Magendie has created something that reminds me so very much of my own grandmother who passed away so many years ago now.  I connected with Virginia Kate as she washed and dried dishes with Rebekha, as she woke quietly to make breakfast, to make things easier, and as she sought for the wisdom of her stepmother, a woman I wanted her to so very much dislike in the first book of this trilogy.

It's funny how characters win you over like that - in spite of everything against them they just creep inside, somewhat like this quiet story, and dig deep, finding all those old emotions and rekindling them and reminding their readers of memories long forgotten.

So when I think about southern books, I feel a warm glow and I open them with anticipation and hope and nostalgia, and I know when I open a book by Kathryn Magendie I won't be reading something that will preach at me or talk over me in an attempt to tell a story that I may or may not get.  Instead, I'll be introduced to characters that I feel like I've known my whole life, and instead of losing myself in a strange world, I'll feel like I just came home.
2180023
This was Albee's first three-act play. It was also made into a film with Elizabeth Taylor, Richard Burton, George Segal, and Sandy Dennis. A cocktail party given by an unsuccessful history professor (George) and his  wife (Martha) for a new instructor (Nick) with his wife (Honey) turns into  a long session of arguments, verbal abuse, revelations, and catharsis.  There are several references to George and Martha's 21-year-old son who we  later discover to be nonexistent. The younger couple, who are having a  child, turn out to have a sterile marriage as well, albeit for different  reasons. This play won the 1962-1963 New York Drama Critics' Circle Award.  This play is filled with great dialogue: witticisms, verbal abuse, sorrow,  and even compassion. It is easily one of the top dramas of the twentieth  century.