The Four Ms. Bradwells

The Four Ms. Bradwells
افزودن به بوکمارک اشتراک گذاری 0 دیدگاه کاربران 3 (1)

مشارکت: عنوان و توضیح کوتاه هر کتاب را ترجمه کنید این ترجمه بعد از تایید با نام شما در سایت نمایش داده خواهد شد.
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فرمت کتاب

audiobook

تاریخ انتشار

2011

نویسنده

Karen White

شابک

9781611201154
  • اطلاعات
  • نقد و بررسی
  • دیدگاه کاربران
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نقد و بررسی

AudioFile Magazine
THE FOUR MS. BRADWELLS is the story of four smart women in law school at Michigan in 1979 who form a strong friendship that spans time, distance, and romantic entanglements. The plot, dramatically narrated by Karen White, involves a past scandal that threatens the nomination of one of the group to the Supreme Court. White is a polished, confident reader who convincingly portrays the complex emotions of these talented women as they try to make sense of their past. The African-American member of the group, portrayed as warm and sensitive, is particularly well depicted. The three others reveal themselves as caring, funny, and committed, but it's not always clear which one of them is speaking. Still, this is engrossing listening. D.L.G. (c) AudioFile 2011, Portland, Maine

Publisher's Weekly

December 6, 2010
Four friends confront a secret from their past in Clayton's disjointed follow-up to The Wednesday Sisters. Thirty years ago, Laney, Mia, Betts, and Ginger were roommates and best friends in law school. Collectively nicknamed the Ms. Bradwells by a professor (after a woman who fought to be admitted to the bar in 1873), their relationship has weathered marriage, divorce, children, and death, but when
Betts's Supreme Court nomination is threatened by questions about the death of a young man at a party they attended decades ago, the women retreat to the scene of the crime—Ginger's mother's summer house—to untangle the past. But this clunky novel is less about that mystery—its poky reveal stretches the limits of human patience—and more about the women's histories and careers, and the complexities of their friendships and families. Clayton finds some traction in discussing what it means to be a woman in both public and private life, but lack of individuated voices (poetry-quoting Ginger is the only unique one among the four) and unruly swerves between past and present make following the story more work than it should be.




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