Terry McMillan's novels feature chatty, catty narrators who have a story they're just busting to tell you. The dominant voice in A Day Late and a Dollar Short
is Viola Price, whose asthma just sent her to the ICU. And who came to visit? The Jheri Curl-wearing Cecil, "a bad habit I've had for thirty-eight years, which would make him my husband." Viola doesn't think Cecil's such a catch: "His midlife crisis done lasted about 20 years now," and "to set the record straight, Cecil look like he about four months pregnant." But somebody did catch Cecil--he recently left Viola for "some welfare huzzy" with three kids. And, as we soon find out in Cecil's first-person chapter, Viola has abundant flaws of her own. McMillan deftly sketches the exasperated intimacy of the long and unsuccessfully married.
She also has great dish about family dynamics. Have Cecil and Viola's kids got problems! When lovable, luck-free Lewis turns up to visit his mom, he's drunk, broke, and still whining about his ex, Donnetta, who "didn't have as much sense as a Christmas turkey" (though she did have the sense to dump Lewis). Now Lewis consoles himself with his Bobbing Betty doll. "How could somebody with an IQ of 146 be so stupid?" marvels Viola. And that Charlotte! Viola's daughter is "a bossy wench from the word go." (Gee, where could she have gotten that trait?) Charlotte feels like she never got her fair share of attention, having been born 10 months after the eldest daughter, Paris (now the driven mom of a brilliant athlete whose white girlfriend claims she's pregnant). Charlotte took it out on younger Lewis and Janelle, who's been in college 15 years with no degree in sight.
At first, you'll make ample use of the family charts in the endpapers to figure out who's who, but pretty soon you'll feel right at home with the squabbling, multiply dysfunctional, ultimately loving Price clan. You may agree with Viola: "Some folks got some stuff that can top ours. Hell, look at the Kennedys." --Tim Appelo
From Publishers Weekly
Viola Price is the truth-telling, trash-talking Las Vegas matriarch at the center of McMillan's eagerly awaited new novel. As the book begins, Viola is in the hospital recovering from a devastating asthma attack, and she's decided to turn her life around, even if it means causing her large, unruly clan a little discomfort. Lewis, Viola's only son, is a drifter, handicapped both by his genius IQ and his alcoholism. Janelle, the youngest child, is perpetually searching for the perfect career, while ignoring signs that her 12-year-old daughter is in trouble. Viola's relationship with her perpetually angry middle daughter, Charlotte, is so volatile that Charlotte periodically hangs up in the middle of phone conversations, while Paris, Viola's eldest, appears to be brilliantly successful, but is actually desperately lonely and has developed a dependency on pills to maintain her superwoman act. To add to the confusion, Cecil, Viola's husband of 40 years, has moved in with his girlfriend, Brenda, a welfare mother pregnant with a child that may or may not be his. The story of how the family puts it back together is told from the perspective of all six main characters, and McMillan moves easily and skillfully from voice to voice. The characters are not entirely sympatheticDlike Viola, McMillan (How Stella Got Her Groove Back) doesn't sugarcoat the truthDbut knowing their weaknesses does make their acts of courage all the more meaningful. This is a moving and true depiction of an American family, driven apart and bound together by the real stuff of life: love, loss, grief, infidelity, addiction, pregnancy, forgiveness and the IRS. (Jan. 15) Forecast: Gutsier and less glitzy than How Stella Got Her Groove Back, McMillan's latest has perhaps the broadest appeal of any of her novels. A major national advertising campaign, national publicity, a TV and radio satellite tour and a 12-city author tour will get the word out and drive the book toward the top of the charts.
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