Customer Reviews

Rise and Shine. Anna Quindlen

5 star:		(24)
4 star:		(26)
3 star:		(24)
2 star:		(31)
1 star:		(25)

 

 

Three-quarters of the way through this book, I had a flash of insight. Up to that point, I couldn't understand what had happened to the clever, insightful Anna Quindlen we all know and love from the New York Times, Newsweek, "One True Thing," and "Black and Blue." Then something occurred to me. Does the rise of the Oprah book club phenomenon mean that there are simply a lot more stupid people reading contemporary novels? Because I honestly felt that I was being treated like a backwoods idiot throughout this book. Understand, I have never lived in Manhattan and I don't personally know any A-List celebrities -- but nonetheless, I GET THE SIGNIFICANCE OF A BLACK TOWN CAR. For crying out loud, the vice presidents of the midsize technology company where I work use car services -- I don't need three pages of explanation for what they are and the degree of prestige they confer. For that matter, most of what Quindlen offers up as an insider's view of celebrity culture is already familiar to anyone who reads People Magazine.

Throughout the whole book, I felt as though Quindlen felt compelled to explain every detail of New York life to me as if I were a 1940s housewife from rural Nebraska, and that's when the Oprah insight came to me -- perhaps the reading public really has changed so much that the overall sophistication of Quindlen's audience has taken a nosedive. But as a writer myself -- one who will never see the well-deserved earlier successes of Anna Quindlen, whom I really do consider a fantastic essayist -- I felt like asking, "Whatever happened to the rule 'show don't tell'? Remember that one from Creative Writing 101?"

Here's the best example of what I mean, but it's only one of dozens in the novel: simply showing the 18-year-old son of a celebrity address the doorman as "Mr. Sanchez" would have been sufficient; I did not need the half-page explanation of "My nephew is a prince. Doormen and domestic help in New York are always called by their first names, but my nephew finds that direspectful and insists on calling the doorman Mr. Sanchez." (I'm paraphrasing from memory; I don't have the book in front of me.)

My point being: we get it, we get it, we get it. Show don't tell, remember? Have the rich-but-not-spoiled Manhattan teen call the doorman Mr. Sanchez and we would understand EXACTLY what you wanted us to know about the kid. That's right, even us homemakers from northern New England would get it: he's polite and deferential even though he doesn't have to be. He's a great kid. Let us figure that out ourselves.

There's another part where Quindlen gives a rather interesting explanation of how the noises of city life are silenced for the rich and privileged because they live and work in buildings with soundproof glass -- then the narrative cuts soon thereafter to a crowded apartment in a housing project and explains that it's NOISY because poor people DON'T have all that soundproofing glass -- no, they HEAR cars and helicopters and shouting. Again, any creative writing teacher who read this passage would say, "Just show me some of the noises -- a car horn or two, a mother shouting -- and the reader will be REMINDED of your point about rich people's domains being soundproof and will INFER the contrast." And then there's the part where the protagonist glimpses her brother-in-law in a restaurant and says "Any single woman in New York knows how to check out a man's dining companion by using reflections" (again, I'm paraphrasing from memory and not quoting) -- actually, anyone who has ever used a mirror knows how to do that. You don't have to be an habitue of New York's trendiest restaurants to know that you can peek in the mirror over the bar to catch a glimpse of your ex's date.

Did any other readers feel this way?

I'm a fan of Anna Quindlen's, but other reviewers here are right when they call this book a disappointment. Anna Quindlen has a great way with words, but that alone isn't enough to make a wonderful novel. "Rise and Shine's" premise is so interesting--yet the incident at the heart of the story is never described clearly. And it was unbelievable that one incidence of saying an unflattering and vulgar word when you thought your mic was off would prompt the firing--and resultant nervous breakdown, which we never really see or understand--of a Katie-Couric-level superstar, anyway. Confusing, implausible, go-nowhere storyline. Most of the time, these characters never really came to life for me. They just seemed like convenient mouths to deliver clever Quindlen words and phrases.

As a clinical social worker, I loved both Black and Blue and One True Thing and felt that Anna Quindlen was spot on in the emotional understanding of her characters.

As right on as I felt she was in these books, I felt that she missed the mark almost entirely in Rise and Shine.

The book seemed full of generalized superficial stereotypes. The hard scrabble people that Bridget worked with were really true at heart and had genuine insight into people and their motivations.

Most of the rich people depicted were nefarious and disingenuous.

Also, I was left not understanding what point the author was trying to make....was there anyone who showed heroism and the street smart intelligence that real people would have in these roles?

Here are some of the things that I questioned:

What real experienced social worker would simply be delighted to find that her young, naive nephew had a license, so he should immediately be employed driving into the dangerous areas of New York?

And, if she was that non-thinking, what experienced policeman boyfriend would not question and put a stop to this?

Where is the emotional rending, introspection and questioning of each other, the parents, aunt, and policeman boyfriend, when the not unexpected tragedy occurs?

Where is the intensive police investigation following the tragedy?

What real police department would allow a civilian to enter a building to bring out a perpetrator and just go along for the ride?

But, perhaps the line in the book that rang the most hollow to me was (spoiler alert) when Bridget, not knowing what her sister is about, just happens to turn on the t.v. to watch her sister enter the building of the perpetrator, and as emotionally charged as such a moment would be, the thought actually crosses her mind that the reporter is versed enough to know that because she is famous, Meghan's name alone is all the identification the public needs.

What real person of any substance would have such a thought in such a moment?

What was the point that the author was trying to make?

That was the question I was left with at the end of the book.

I was captivated through the first third and s--l--o--w--l--y "worked" my way through the second third and now I give up. I don't open the book with excitement and can easily read less than a chapter and not care what is happening and go to sleep. I'm done with it. Disappointed for sure.

I am an Anna Quindlen fan and I was sooooooo disapointed with Rise and Shine. Sounded ( I listented to it on CD) like it was written by a teenager who reads People Magazine. Ms. Quindlen can do better. Save your money.

This is a story of two sisters living in Manhattan. One, the biggest celebrity in the nation, a host of a morning television show called "Rise and Shine," and her sister, a social worker. The story bores you until the talk show host, Meghan, has what's referred to by one character as "a meltdown" and the entire nation is just SHOCKED by her action one morning. What did she do, did she beat the pope with a hammer on air, attempt to kill the president with a plastic fork and knife or admit to her killing over 200 men, women, and children for sport over the past two months? The answer: none of the above. Before a commercial break, under her breath she calls a much loathed guest on her show an f-ing a-hole. In this day and age, it doesn't warrant the reaction it receives from everyone. I couldn't get into the rest of the story because of the absurdity of the s-storm brought down on Meghan.

Another aspect I tired of quickly was the non-stop witty banter between Meghan and her sister, Bridgette. Instead of the Fitzmaurice sisters they are more like the Smothers brothers. It doesn't matter if they're eating breakfast, at a dinner party or jogging, they are always "on." I'm not saying I dislike witty conversation; I'm saying I dislike it when it's contrived and not believable dialogue. I can see a sharp ultra-famous talk show host being that witty but her social worker sister matching her blow for blow? Why aren't they both on television too?

Last but not least, the language is simple. There is no doubt this book was written by a "newspaper person." If you're looking for wonderful sentences constructed to wow you as much as the sisters' dialogue is supposed to you're not going to find them here. This is not literature folks. This is written on a grade level that does not exceed the 8th.

I don't believe in the story, the characters or the simplicity of the text. I know what you're thinking; I'm probably just some f-ing a-hole who despises chick-flick-lit. I'm not. If a story adds up and is well written, I'll enjoy it. I didn't enjoy this. Rise and shine bright and early tomorrow and buy "Catcher in the Rye."

I have been a fan of Anna Quindlen's for many years and eagerly await her next book. She has been one of my favorite authors for several reasons. She is willing to address unpleasant issues and creates living breathing characters who I get attached to. Usually I don't stop thinking about her books for awhile after I've finished them.

This book was a major disappointment. I did not finish it because it was simply torture to read. The characters had no depth even in their shallowness. They were one dimensional and I could not care less if they lived or died. The reader is led to believe that some big catastrophe occurs on the air...Miss Rise and Shine swears...that's it...in today's world that is almost a joke. Anna, I hope you can do better than this because obviously you are a great writer. I think your fans deserve better.

I really wanted to like this novel! I've heard Anna Quindlen speak at two book readings and enjoyed hearing her articulate commentary about life as an author in New York.

Alas, Quindlen's masterful command of the language puts Rise and Shine into the "literary fiction" genre, but the plot and characters don't rise to the same level. My disappointment began when (after cleverly teasing readers for several pages) Quindlen revealed the source of Meghan's meltdown: a few four-letter words overheard on the air.

In turning to amazon, I was hoping a broadcasting expert would chime in with a review. Could this "accident" happen? Is there some kind of protection built in to protect the stars? Is this really a big deal: with her millions, Meghan could have hired an attorney to argue that she had every reason to believe the mike was off, she wasn't speaking about a particular guest, etc., etc. In fact, Meghan would have both an attorney and an agent to represent her. The network president would (I suspect) not be calling Meghan's sister: he'd call Meghan's agent.

Ironically, in a real chick-lit novel, we'd have a better crisis. I was expecting Meghan to reveal that she was adopted or had a prison record or that her past was a carefully fabricated lie. In real life, Linda Ellerbee famously sent a damning email to her own bosses by pressing the wrong key. But Ellerbee then (and perhaps now) wasn't really that famous. Bryant Gumbel's damaging memo was leaked...and he survived.

After that, I have to admit I turned the pages faster. I did get caught up by Quindlen's prose and pacing, so I didn't want to put down the book. Yet (as I suspected early on) the plot gained in melodrama what it lost in credibility. The whole theme of "poor little rich girl" didn't come with a new twist. And I couldn't really care about the characters since they seemed distant from themselves.

How does Bridget feel about having a famous sister? Apparently she's totally secure and supportive - great psychology but not much plot interest. Bridget plays "aunt" to Meghan's son and she's a great friend of Meghan's husband. She gets some of the perks of the rich and famous when she travels with Meghan. Yet we don't get a sense of Meghan's vast wealth affecting the relationship. In the sisterly relationships I know, Bridget would be fighting resentment. She'd get fabulous gifts and she'd contrast her own humble apartment with Meghan's lavishness. She wouldn't be humbly grateful for her sister's contribution to a charity; she'd expect even more. And despite the girls' Irish names and backgrounds, we don't get much of a sense of an Irish Catholic upbringing -- or the absence of one. We don't get a sense of three-dimensional characters with contradictions and flaws.

I admit I'm feeling grinchier than usual: Although I skimmed a lot in the last third, I still felt I didn't gain enough for the investment of time: something to think about, a new way of viewing the world, even appreciation of a well-done novel that remains true to its purpose.

Maybe next book...

First, Anna Quindlen's writing is a joy to read, so when I read/review one of her books, it is difficult not to be effusive. Ms. Quindlen is nothing if not a teacher, one who provides the path to a lesson or moral within her wonderful prose.

Ms. Quindlen's newest offering, RISE AND SHINE, opens by introducing Meghan Fitzmaurice, "the most famous woman on television, which means that she is probably the most famous woman in America." Immediately, my mind replaces the name Meghan Fitzmaurice with Katie Couric...it just fits and, of course, the timing has ironic overtones. However, after interviewing an internet titan, one Meghan abhors, she lets fly a missive better suited for off-air exposure except...her microphone was still on, and the viewing audience became jaw-dropped. Meghan immediately becomes the storybook pariah, and vanishes faster than flashpaper.

Ms. Quindlen's places the view of this story as one told from Meghan's younger sister, Bridget. Bridget is the more wholesome and earthy of the sisters, toiling as a social worker in the Bronx at a women's shelter. However, when Meghan disappears somewhere on the island of Jamaica, Meghan becomes the keeper of her sister, and endeavors to locate her. Bridget enlists the help of one Irving Lefkowitz, the deputy police commissioner, to help her find her now infamous sister. To say that Lefkowitz becomes an endearing character to Quindlen would be an understatement.

Ms. Quindlen weaves the story with brilliance and simplicity. The back story here is a view of the people of New York, and New York itself, post-9/11. The fairness with which Ms. Quindlen allows each character to speak, regardless his/her rung on the socioeconomic ladder of life, is refreshing and real. Inasmuch as New York City is a potpourri of nationalities and races, this becomes something special as Ms. Quindlen allows each individual reader the opportunity to envision each character in one's own mind's eye.

This is a story that is real, a story of two sisters, moving between disparate social environments during childhood, and placing them in disparate social landscapes as adults. The story then brings the sisters full circle, back to the beginning, when family is what counts. However, Ms. Quindlen does not let the storyline go adrift; this is not a fairy tale and not one for Pollyanna's. She has written this from the viewpoint of realistic optimism, hoping that the characters in her book, each and every one of them, strive to make their lives and those around them better. This sounds somewhat sappy, but then, I certainly can't write like Anna Quindlen.

This is a first rate read, and one I highly recommend.

I enjoy Anna Quindlen's commentary, but was distinctly underwhelmed by this book. Though ostensibly a social satire, Quindlen's observations about New York's high life are completely lacking in originality or wit. She goes on for pages, for example, about the ubiquity of black Lincoln Town Cars in Manhattan, and the gossip and insincerity at fancy dinner parties.

Moreover, every character felt like a cliche. There's Meghan, the Katie Couric doppleganger who (surprise, surprise) wakes up one morning to wonder "Is that all there is?"; and Bridget, Meghan's do-gooder sister who is tired of life in the shadows; and Tequila, Bridget's wisecracking African-American secretary with a heart of gold. They are all characters we've seen dozens of times before, and they bring nothing fresh to the table. And the plot is unbelievable, relying on out-of-character behavior by the protagonist and a deus ex machina plot twist to resolve the central dilemma.

Perhaps the most disappointing thing for me was the lack of care that pervades the work. The sentences were flat and clunky, and I had to struggle to keep the timeline straight. There were lots of little errors and inconsistencies that contributed to an overall sense of unreality. For example, a rich character in one scene offers to transport Bridget in his private jet, but a few pages later, Bridget talks about the poor passengers on her flight. In another scene, Bridget talks about a photo of her sister with a small wizened old man who turns out to be the Chief Justice -- but none of the real Chief Justices over the last twenty-five years even remotely fits that description. And while I can accept the idea that a 43-year-old woman might be in denial about a pregnancy, the idea that she'd breezily accept the fact that she's in early menopause without giving it a second thought is simply not credible. Yes, these are little things on their own, but the accumulation of such details became distracting after a while.

My overall feeling when finishing this book was, "Why?" Why did Quindlen, with all her success, feel the need to write this book?