From Publishers Weekly
Ward, best known for Cattle Annie and Little Britches but most admired for the somber proletarian novel Red Baker , has worked in Hollywood for years; as with Richard Price, scriptwriting seems not to have affected his prose style. In fact, style is not his strong suit; his writing is energetic and emotional but often clumsy, and his attitude toward his characters is unmodishly intense. What comes across powerfully in this novel, as in Red Baker , is Ward's passionate belief in seemingly unpromising material, which leaves the reader carried away (sometimes unwittingly) by the sheer creative energy involved. Once again the scene is Ward's native Baltimore and the hero Tom Fallon, a '60s youth grappling with literature at a minor college and a miserable home life. He falls in with Jeremy Raines, a hippie genius with a scheme to sell photographic student ID cards to America's colleges, and the story tracks Fallon's struggle between his desire to be a good student and his attraction to the heady involvement in Life (including sex, booze and drugs) that Raines and his clan offer. Though the novel is awkwardly framed by Fallon's return visit to his college for an honorary degree celebrating his success as a writer, the vital excesses of the '60s are wonderfully evoked, and there are some hilarious and touching scenes, as well as some melodramatic and highly implausible ones. Despite its faults, the book's pulsing vitality--as in the novels of Thomas Wolfe, a writer of similar faults and virtues--carries the day.
Copyright 1993 Reed Business Information, Inc.
--This text refers to an out of print or unavailable edition of this title.
From Library Journal
Successful novelist Tom Fallon returns to his hometown, Baltimore, to receive an honorary doctorate from his alma mater. During the trip, he reflects on his college days. The bulk of the novel is a flashback to 1965, when Fallon lived with a group of beatniks in a communal house presided over by Jeremy Raines, the "King of Cards." Raines and his crew are partners in an ID card venture, but their lack of business sense leads them into disaster. Fallon, meanwhile, struggles with his identity--is he working class, beatnik, or serious student? Unfortunately, Ward's narrative also struggles for identity. Seemingly unsure of the tone he should take, Ward shifts from a beat prose to more standard English. These shifts don't work, and the novel's unevenness, even if intentional, makes it unengaging reading. There may be demand from fans of Ward's Red Baker ( LJ 5/1/85), however.
- David Dodd, Benicia P.L., Cal.Copyright 1993 Reed Business Information, Inc.
--This text refers to an out of print or unavailable edition of this title.