From Publishers Weekly
Starred Review. Construction was started on the Empire State Building on St. Patrick's Day, March 17, 1930. It was just as the Depression was beginning to squeeze America in its death grip and every job was sacred. Kelly, who created first-rate working-class heroes in
Payback and
The Rackets, takes a fascinating look at how New York City was run at the end of the Jazz Age—by bribe, kickback and political machination. The characters are tough and vengeful: Michael Briody, steelworker, WWI vet, IRA gunman; Johnny Farrell, a "narrowback" lawyer who functions as the mayor's bagman; Grace Masterson, a beautiful painter who lives on a houseboat on the East River, holds dark secrets and counts both Briody and Farrell as lovers; and Egan, the governor's dour henchman. Historical figures of the time round out the cast: FDR, the governor of New York, making sure that nothing will hinder him on the way to the White House; Mayor James J. (Jimmy) Walker, a dapper rogue and master practitioner of "honest graft"; Judge Joseph Force Crater, stooge of Tammany, destined to be eclipsed in a legendary way; and Al Smith, the "Happy Warrior," a political has-been now in charge of the construction of the world's tallest building. Kelly weaves a fascinating tale that captures the cadences and decadence of art deco New York, where desperate working-class have-nots and powerful elite swells collide violently in a nation on the brink of great change.
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"The Empire State Building will dominate the Manhattan skyline," all New Yorkers realize in 1930 as construction proceeds, but then, too, "nothing gets built in Gotham without a kickback." Thus is the basic premise of this, to borrow construction language,
riveting novel evoking in authentic detail the underside of New York City politics during the era of Mayor Jimmy Walker. Kelly's story is basically the tale of a love triangle between Johnny Farrell, an important aide to the mayor; Johnny's artist girlfriend, Grace Masterson; and construction worker and part-time boxer Michael Briody. Each of these characters represents, without the flatness of type, a significant element of the fabric of New York City as the Empire State Building rises ethereally above the street-level realities of hard economic times and how big-city government works. Kelly successfully melds actual historical figures and fictional ones, but in the end, it is New York City itself that emerges as the central character here: a place that makes people the way they are.
Brad HooperCopyright © American Library Association. All rights reserved
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