可借阅:*
图书馆 | 资料类型 | 排架号 | 子计数 | 书架位置 | 状态 | 图书预约 |
---|---|---|---|---|---|---|
正在检索... Medical | Book | F THO1980 | 1 | Fiction Collection | 正在检索... 未知 | 正在检索... 不可借阅 |
正在检索... South | Book | WYO FIC THORPE S | 1 | Government Documents | 正在检索... 未知 | 正在检索... 不可借阅 |
链接这些题名
已订购
评论 (2)
Kirkus评论
Initially grim but increasingly saccharine, this is the uneven story of three sorry cases--a heart-damaged vet with a big death-wish, a Vietnam-vet double amputee with possessive parents, a near-catatonic orphan--who will all finally pull together to a completely happy ending. Prime focus is on Sherwood O'Neal--who, ever since getting shrapnel in the heart from an Okinawa accident (which he can't remember), has been blackout-prone and convinced that he's at death's door; he and legless, guitar-making buddy Art Johnston live on disability payments in a So. Dakota cabin. . . till Sher gets word that his sister's been killed in a car crash, leaving him her house and four-year-old nephew Jamie. So then it's off to California, where Art is virtually kidnapped by his parents while Sher retrieves Jamie from a filthy, cruel foster home: the boy (whom Sher, ickily, calls ""little dude"" or ""small friend"") must be coaxed back to talking and walking and trusting--which is accomplished with help from divorcee neighbor Erica (who shares Sher's bed) and her little daughter. But though Sher works hard to win legal custody (his mental-patient past is a problem), he's afraid of a close tie: he doesn't want Jamie (who's slowly adjusting to his mother's death) to start counting on a near-death uncle. And there's also Art to deal with: Sher helps him escape from his parents, hiding him in a specially-built secret room; but Art is jealous of the Sher/Jamie attachment, suspicious of nurse Karen (who loves him), and determined to make it alone--on newly-crafted artificial legs. And so it goes--until an accidental injury to Jamie triggers a compressed series of pat resolutions: Sher is suspected of child abuse, gets into a bar brawl, recovers his memory in a dubious epiphany (which convinces him that ""I'm alive""), and marches off with Erica and kids; Art has a therapeutic showdown with his father, embracing Karen. And first-novelist Thorpe narrates it all in present-tense, clipped-off prose that's generally effective but more than a little mannered--especially when sliding into murky psychology or Sher's inner monologues; the dialogue, too, often bogs down in ponderous talk of guilt and death and making commitments. Still, however contrived and maudlin the treatment, Thorpe's sincerity does come across; and the basic situation here offers moments of undeniable pathos and uplift--precisely the sort of material that's turning up in one TV-movie after another these days. Copyright ©Kirkus Reviews, used with permission.
Kirkus评论
Initially grim but increasingly saccharine, this is the uneven story of three sorry cases--a heart-damaged vet with a big death-wish, a Vietnam-vet double amputee with possessive parents, a near-catatonic orphan--who will all finally pull together to a completely happy ending. Prime focus is on Sherwood O'Neal--who, ever since getting shrapnel in the heart from an Okinawa accident (which he can't remember), has been blackout-prone and convinced that he's at death's door; he and legless, guitar-making buddy Art Johnston live on disability payments in a So. Dakota cabin. . . till Sher gets word that his sister's been killed in a car crash, leaving him her house and four-year-old nephew Jamie. So then it's off to California, where Art is virtually kidnapped by his parents while Sher retrieves Jamie from a filthy, cruel foster home: the boy (whom Sher, ickily, calls ""little dude"" or ""small friend"") must be coaxed back to talking and walking and trusting--which is accomplished with help from divorcee neighbor Erica (who shares Sher's bed) and her little daughter. But though Sher works hard to win legal custody (his mental-patient past is a problem), he's afraid of a close tie: he doesn't want Jamie (who's slowly adjusting to his mother's death) to start counting on a near-death uncle. And there's also Art to deal with: Sher helps him escape from his parents, hiding him in a specially-built secret room; but Art is jealous of the Sher/Jamie attachment, suspicious of nurse Karen (who loves him), and determined to make it alone--on newly-crafted artificial legs. And so it goes--until an accidental injury to Jamie triggers a compressed series of pat resolutions: Sher is suspected of child abuse, gets into a bar brawl, recovers his memory in a dubious epiphany (which convinces him that ""I'm alive""), and marches off with Erica and kids; Art has a therapeutic showdown with his father, embracing Karen. And first-novelist Thorpe narrates it all in present-tense, clipped-off prose that's generally effective but more than a little mannered--especially when sliding into murky psychology or Sher's inner monologues; the dialogue, too, often bogs down in ponderous talk of guilt and death and making commitments. Still, however contrived and maudlin the treatment, Thorpe's sincerity does come across; and the basic situation here offers moments of undeniable pathos and uplift--precisely the sort of material that's turning up in one TV-movie after another these days. Copyright ©Kirkus Reviews, used with permission.