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Editorial Reviews
From Publishers Weekly
Twenty-five years in the making, this Hollywood novel by Pulitzer Prize–winner Frank (Louise Bogan: A Portrait) is a rich meditation on family, sex, responsibility and betrayal. Dinah Lasker, happily married with two children to successful Hollywood producer-writer-director Jake Lasker, finds her world upended when she is called to testify at the HUAC hearings of the Communist-baiting 1950s. To refuse would mean her husband will be blacklisted; to comply means she must "name" her sister, the always more glamorous Veevi, an unrepentant former Communist and actress living in Paris. Dinah's decision to testify takes place early in the novel and torments her throughout the decade or so that follows, but Frank gradually reveals that "fink" Dinah is really the only decent character in town. Former friends cut her socially; Jake philanders unrepentantly; and Veevi, who is forced to move in with Dinah in Hollywood, begins an affair with Jake. Frank adopts some of the stylistic conventions of mainstream 1950s fiction to mixed effect, but she does a stupendous job of allowing the reader inside each character's self-justifying world view while placing their actions in a larger context. Dinah, far from being a simple do-gooder, is a sympathetic and complex character, and her deep love for her downward-spiraling sister and her ladder-climbing husband is as heart-wrenching as her eventual bid for independence.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --This text refers to the Hardcover edition.
From The New Yorker
Set in postwar Hollywood, Elizabeth Frank's first novel evokes a lost world of orange blossoms, pressed linens, and Friday-night luaus at which liveried waiters serve pineapple chunks and rumaki. It is to lay claim to such comforts that Dinah Milligan, a former chorus girl, marries a director of popular cornball comedies, and to preserve his career and the good life to which they've grown accustomed that she testifies before the huac. After naming names—including that of her sister—Dinah endures the further trials of ostracism and guilt. This leads her to probe, with keen moral intelligence, the forces that have led to her predicament—a pattern of desires that span continents, oceans, and kidney-shaped pools, and which have entangled the people she loves for most of an American century.
Copyright © 2005 The New Yorker --This text refers to the Hardcover edition.
See all Editorial Reviews
Twenty-five years in the making, this Hollywood novel by Pulitzer Prize–winner Frank (Louise Bogan: A Portrait) is a rich meditation on family, sex, responsibility and betrayal. Dinah Lasker, happily married with two children to successful Hollywood producer-writer-director Jake Lasker, finds her world upended when she is called to testify at the HUAC hearings of the Communist-baiting 1950s. To refuse would mean her husband will be blacklisted; to comply means she must "name" her sister, the always more glamorous Veevi, an unrepentant former Communist and actress living in Paris. Dinah's decision to testify takes place early in the novel and torments her throughout the decade or so that follows, but Frank gradually reveals that "fink" Dinah is really the only decent character in town. Former friends cut her socially; Jake philanders unrepentantly; and Veevi, who is forced to move in with Dinah in Hollywood, begins an affair with Jake. Frank adopts some of the stylistic conventions of mainstream 1950s fiction to mixed effect, but she does a stupendous job of allowing the reader inside each character's self-justifying world view while placing their actions in a larger context. Dinah, far from being a simple do-gooder, is a sympathetic and complex character, and her deep love for her downward-spiraling sister and her ladder-climbing husband is as heart-wrenching as her eventual bid for independence.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --This text refers to the Hardcover edition.
From The New Yorker
Set in postwar Hollywood, Elizabeth Frank's first novel evokes a lost world of orange blossoms, pressed linens, and Friday-night luaus at which liveried waiters serve pineapple chunks and rumaki. It is to lay claim to such comforts that Dinah Milligan, a former chorus girl, marries a director of popular cornball comedies, and to preserve his career and the good life to which they've grown accustomed that she testifies before the huac. After naming names—including that of her sister—Dinah endures the further trials of ostracism and guilt. This leads her to probe, with keen moral intelligence, the forces that have led to her predicament—a pattern of desires that span continents, oceans, and kidney-shaped pools, and which have entangled the people she loves for most of an American century.
Copyright © 2005 The New Yorker --This text refers to the Hardcover edition.
See all Editorial Reviews
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Elizabeth Frank, New York, Los Angeles, Communist Party, Jake Lasker, Palm Springs, Beverly Hills, Willie Weil, Santa Monica, Ben Knight, Irv Engel, Mike Albrecht, George Joy, Saul Landau, Veevi Dinah, Stefan Ventura, Claggett Oil, Norma Levine, Manny Steiner, Rabbit Hill, Tal Engel, West Hollywood, Art Squires, Sunset Boulevard, Anya Engel Browse Sample Pages:
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Elizabeth Frank, New York, Los Angeles, Communist Party, Jake Lasker, Palm Springs, Beverly Hills, Willie Weil, Santa Monica, Ben Knight, Irv Engel, Mike Albrecht, George Joy, Saul Landau, Veevi Dinah, Stefan Ventura, Claggett Oil, Norma Levine, Manny Steiner, Rabbit Hill, Tal Engel, West Hollywood, Art Squires, Sunset Boulevard, Anya Engel Browse Sample Pages:
Front Cover | First Pages | Surprise Me!
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