From Library Journal
Is a kidnapping child molester less evil than a church congregation that wants its pastor to make his sermons more entertaining and to celebrate their prosperity as a visible sign of grace? Are we individually responsible for perverting the innocence of our children, or does our culture in general take the blame? These are among the disturbing questions posed by this bleak novel from Steinke (Suicide Blonde, Atlantic Monthly, 1992). It is set in an unnamed city somewhere in the South, where the downtown area has gone derelict and is surrounded by a suburban belt of subdivisions and strip malls and where a young girl has been kidnapped from her summer camp. Another young woman works as an assistant to her father, a Lutheran pastor who obsesses in his sermons about the missing girl. As the stories of the woman and the girl move toward their inevitable intersection, Steinke takes us on a Generation X tour through an American hell as vivid and upsetting as any imagined by Hieronymus Bosch. A powerful novel; for most collections.?Charles Michaud, Turner Free Lib., Randolph, Mass.
Copyright 1997 Reed Business Information, Inc.
From Kirkus Reviews
A grim and often persuasive view of modern suburbia as the outer circle of hell. Steinke (Suicide Blonde, 1992, etc.) clearly knows the terrain well. Her portrait of a northeastern suburb, in which the well- ordered housing developments and antiseptic malls can't quite suppress the disorder lurking close by, is precise and convincing. Adolescent Ginger, the protagonist, is uneasily caught between those worlds. Her father is a minister, a sign of order and continuity in the community. But Ginger, who has watched her mother die slowly of cancer, senses that life is willful and violent. Even the remnants of the natural world around her--garbage-strewn lots and contaminated streams--seem to suggest decay. Meanwhile, her boyfriend, horribly scarred in an accident, is obsessed with death. (When they strike and kill a deer on a dark road, he cuts off the head as a trophy, and carefully describes to her the stages of its decomposition.) The clearest sign of disorder, though, is the disappearance of a local girl, Sandy Patrick, who's been kidnapped from summer camp by a child molester. Invisible to authorities, he drives his nondescript van, with Sandy tied up inside, aimlessly from one town to the next, smuggling the terrified and abused child into one seedy motel room after another. Ginger, desperate to find some purpose to life, becomes obsessed with Sandy's disappearance, and begins trying to puzzle out who the child was. Several chapters follow Sandy's horrific existence with ``the troll,'' the deranged figure who's keeping her captive. Ginger's wayward investigation finally brings her to an unexpected, violent confrontation with him. Charting suburban despair and ennui is not new terrain, but Steinke brings to her portrait a powerful dark lyricism, a sharp eye for character, and a seemingly natural gift for metaphor. This is angry, painful, disturbing fiction, its impact only slightly lessened by the occasional rhapsodic outbursts of some of the characters. (Author tour) --
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