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	• An analysis of the effects of gender and race on salary for the regular-scale faculty: Report Carol A Chetkovich University of California at Berkeley, Office of the Faculty Assistant on the Status of Women, 1991 average customer review:based on 39 reviews
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highly recommended

In the boarding house where they stay there is a hint of opulence. It is learned that the body of the deceased uncle, Ward, is being held by the authorities. Honey feels they should try to get jobs in the town. Frank works as a security guard and Honey in the business office of a college undergoing a transition from a community college to a four years residential college with a Great Books curriculum.

For Thanksgiving it is decided to eat at Cedar Lodge and stay there through the long weekend. Listed winter activities are ice skating and ice fishing. In a telephone call Frank learns that his cousin Norman is collapsing. Norman upended the sheriff's car when served with papers of foreclosure. Frank and his family go to Norman's place where it is discovered the dairy herd has been killed. In the end Frank uncovers and clarifies mysteries that have always surrounded his boyhood. The atmosphere created by the author matches the subject of the search for meaning by being indeterminate, foggy, bewildering. The children are presented in interesting realistic detail.

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A Pleasure to read

This book is a pleasure to read. The writing style is effortless - Mr Collins is a skillful and inventive writer.

The story follows a 1970s family who return to the Frank Cassidy's hometown for his dad's funeral. As the mystery around the death unfolds, other themes are also addressed. In a couple of generations Frank's family has moved from primary industry, mining and farming, into the service econony (flipping burgers). The novel shows the impact on families, on men and women and their ideas of their place in the world. Some people can survive in the modern world of corporate farming, of colleges which free people from their tie to the soil. It is not an easy journey but the ability of people to survive shines through, especially when the benefits of education are used to change for the better. In the background the impact of a war fought overseas is also in the air.

Ultimately, a novel about hope. Perhaps even an update of the American dream? Great book, deserves more recognition.

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Very very weird, and not what it seems

This is an unusual book, strange in so many ways I'm going to have trouble listing them all. I'll try, though. I will say that at some level I enjoyed this book, and if you can overcome the shortcomings that I'll list below, you may enjoy it more than I did.

For one thing, there's the issue of the author's name. This *isn't* the Michael Collins who was the first president of Ireland (of course not, he's been dead for 80 years) though the author was born over there. He's also not the astronaut who stayed on Apollo 11 while Armstrong and Aldrin wandered around on the moon. And he's also not Dennis Lynds, who has a series of detective novels featuring a one-armed private eye named Dan Fortune, and who writes novels under the pen name Michael Collins. This is the other other other Michael Collins. Very weird.

The plot of the book is pretty complex. All of the plot takes place in the late 1970s, a strange choice for the author. It works at some levels, though. Frank Cassidy is a small-time next-to-nothing, working at a burger joint, married to a woman who is at first a dispatcher for a trucking company. They have two kids, though the older one is from her previous marriage. Frank gets word that his uncle has died, and he decides to return to his hometown for the funeral. However his cousin and the cousin's wife are very angry at this.

This is where things begin to get strange. It turns out that Frank's wife, Honey, was married before, and her husband killed two people and is now on Death Row. She beats the son she had with the first husband. Frank, meanwhile, steals cars and money in order to finance their trip back home. As the novel progresses, there's not a single solitary character in the whole plot who's truly honest, good-hearted, and/or selfless. Everyone's out for themselves, dishonest, and nasty. It's sort of a cross between American Beauty and The Grapes of Wrath.

One point I think worth making is that the author isn't an American. You've got to wonder what these guys are thinking (I'm thinking of the guy who wrote American Beauty) when they move here in order to write stuff and tell us what jerks we are. I wonder if an American could move to Britain or Ireland and write a novel like this, and get it published, let alone receive awards. Needless to say, all the gushing blurbs on the back of the book are from British and Irish newspapers, which all insist (of course) that it reveals "America's long malaise".

The author *can* write, though. There's not that much of a plot, unfortunately. Instead, we get a bleak, desolate account of Middle America a quarter century ago. While the author isn't positive about anything, it's interesting to watch the characters wander through the plot. The mystery angle isn't (as is traditional) important to the book, and the solution, when revealed, seems rather forced and quick. Luckily, as I said, it's not that significant.

I enjoyed this book within these parameters. I might recommend it, but you've got to be aware of how annoying it can be at times.

This is where things get weird, however.

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This book starts off quite promisingly. The writer evidently knows the mechanics of how to write well. But the book lacks sufficient plot after about the first hundred pages (of a 360-page book) to keep the reader very interested in continuing with it. The journey to the end of the book becomes boring, too unstimulating, too slow, too drawn out, with too much description and detail just for the sake of giving description and detail, too much describing of humdrum life, with the reader wondering if the book is going to go anywhere sufficiently interesting to be worth going on turning the pages. The characters in the book aren't made particularly interesting in themselves. The story ceases to be interesting. The reader is left in the dark for too long as to where the book is heading to, or why all the details are supposed to be interesting, or what the point of the book is supposed to be. Whilst what really happened many years before, in Frank's childhood, is revealed to us in the last fifteen pages of the book, by the time the reader gets there, he will probably have lost interest in the tale anyway.

A few specifics in the plot that didn't really seem to fit together well:
1. It seemed odd for Frank just to dump Juniper, the family pet, in someone else's car, and for that action then just to be accepted by the rest of the family.
2. It seemed odd for Frank to go back home with specific personal missions in his mind, but yet then never actually to get round to meeting up with Norman and Martha face to face for the whole time he was up there.
3. It seemed odd for Norman and Martha just to run away without saying more to anyone, after their herd was slaughtered.
4. Why Chester Green was suddenly being referred to as 'the Sleeper' didn't seem to be explained.
5. It seemed odd for Frank, not rich, not to want to salvage any possessions from either house before they were bulldozed.
6. It seemed odd and too convenient for Frank suddenly to be interrogating Baxter, his new co-worker, for information, which was forthcoming, as soon as he met him.
7. It seemed odd for Frank just to be allowed to be left alone with Chester Green in a hospital unsupervised, particularly in later visits after he had already been suspected of trying to harm or interfere with Chester Green earlier on.
8. Why Baxter suddenly ended up in the sanatorium following the window-smashing incident and ended up getting ECT treatment wasn't very clear.
9. Frank suddenly realising his mother had died in a fall many years ago, by listening to tapes, didn't really ring very true.
10. The detail at the end of the book (page 357), of Frank killing the paralysed 'Chester Green' in the sanatorium, seemed to be a detail borrowed straight out of 'One Flew over the Cuckoo's Nest', where the huge red indian suffocates the comitose Jack Nicholson at the end of that film. That conclusion seems to be borne out by a reference to 'One Flew Over the Cuckoo's Nest' in this book, just a page later (page 358).

All in all, this was not a very satisfying book, for a variety of reasons - mainly lack of interesting plot and lack of interesting characters.

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"I got vision and the rest of the world wears bifocals."

Frank Cassidy lives on the fringes of society in a succession of demeaning jobs, a wife with an ex-husband on death row in Georgia, an angst-riddled stepson waiting for his father to be executed and an innocent pre-schooler, obsessed with his toy dinosaurs. Frank's edge-of-desperation lifestyle can be traced back to his childhood, his father and mother killed in a fire that erupted on the family farm when Frank was five-years old. His memories of that time are dim, shaped by the overwhelming presence of his uncle, who raised him as one of his own, and the psychological evaluations the doctor hoped would unlock Frank's fragmented memory of the night of the conflagration.

As soon as he is old enough, Frank leaves the farm behind, along with all family connections, to make his way in a hostile world with no patience for an emotionally damaged survivor. His life since then has been a series of misdemeanors, an anti-social approach to the rest of mankind. Frank views his occasional petty crimes as the natural evolution of a careful society, like car theft, his deeds "preordained statistical probability", but refuses to believe that "stupidity and desperation equate to evil". When he reads of his uncle's murder, Frank gathers his family and heads for the past, a dark trek from New Jersey to the vast, empty cold of the far north in Michigan.

Along the way, Frank telephones his cousin at the farm, arguing about the purpose of the trip and the resolution of a shattered history. For Frank, this journey is like poking a stick at a bad tooth, as painful memories surge, taunting and confusing his every action, his haunted youth returning with savage intensity. He makes his way back to the kind of town nobody would willingly return to unless called by tragedy or loss. People here live in despair, inhabiting days frozen in minimal needs and obligations, waiting to thaw. At each phase of his odyssey, Frank is beset by images and memories, the flickering light of a television screen in a starless night, black and white reruns the backdrop for a tragedy buried in his subconscious that fills him with a vague sense of guilt, a mistrust of his own motivations.

Thirty years after the traumatic events that stole his childhood, Frank is called back into the chaos of his youth, the self-destruction that has defined every rebellious action since. Both distressed and comforted by a suffering family he can barely provide for, Frank plunges into what remains of his world, forced to redefine time and place, to make a stand in this frozen wilderness, drawing courage from his own need for resolution and the love of his dysfunctional family. He does so with consummate grace, a tragic character cart-wheeling through free-associative hell on a collision course with the truth. The prose is shadowed and disturbing, a painful view of the underbelly of American life, where the have-nots gather around a burning trash can in hopes of warmth in an indifferent landscape. Luan Gaines/2005.

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reviews: page 1, 2, 3, 4, 5, 6, 7, 8



The Resurrectionists, Irish writer Michael Collins's follow-up to his Booker Prize-nominated The Keepers of Truth, is a thriller that bubbles up from the tawdry stew of its central character's fringe existence. Frank Cassidy is a clinically depressed, all-but-impoverished New Jersey man who receives word that his uncle Ward (who raised Frank after his parents were killed) has died. Frank's reaction is telling: perhaps there's a piece of Ward's Michigan farm that has been willed to him. Traveling in a succession of stolen cars, Frank gets to his snowbound destination and finds that Ward's death is shrouded in mystery; worse, Frank is implicated in the crime.

Collins has written a significantly ambitious work here that wants to be more literary than its genre conventions typically require. This makes for a novel with many memorable elements but a blurry reading experience overall. Still, one has to appreciate the author's insight. Strategically set in 1979, the story's emotional landscape is profoundly provocative and disturbing, a photo album of sociocultural exhaustion. The characters are burdened by sundry fallout effects of Vietnam, Watergate, recession, and mutable family structures. Cumulative dread and regression fill the air. In such a setting, a fellow like Frank, somewhere between ordinary life and the netherworld of crime, between failure and redemption, is a consummate protagonist. --Tom Keogh

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