Psychotherapist Katherine DeQuincy is torn between Pilot, her haunted, schizophrenic patient, and his brother, Eric Airie. Now coming home to care for his aging mother, Pilot is determined to discover the truth. Allowing herself to fall in love with Eric, Katherine is venturing into the mind of a schizophrenic, and a maze of deception, betrayal, ...
Psychotherapist Katherine DeQuincy is torn between Pilot, her haunted, schizophrenic patient, and his brother, Eric Airie. Now coming home to care for his aging mother, Pilot is determined to discover the truth. Allowing herself to fall in love with Eric, Katherine is venturing into the mind of a schizophrenic, and a maze of deception, betrayal, and danger.
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Publishers Weekly, 2000-05-22 This first novel depends a great deal on gimmicks. The hero, from whose disturbed point of view much of the story is told, is the oddly named Pilot Airie (his father was an airline pilot). Diagnosed as a schizophrenic, his life has been off the rails ever since his younger sister, Fiona, disappeared mysteriously during a drunken party his parents threw during his childhood. His older brother, Eric, is a cool, collected neurosurgeon; his mother is a quondam medical specialist, whose eyesight seems to be unaccountably vanishing and whose mental state is increasingly disoriented. The overriding question, to which an attractive young psychotherapist, the elaborately named Katherine Jane De Quincey-Joy, must address herself, as she treats Pilot and begins an affair with Eric, is: whatever happened to Fiona 20 years ago, and can she do anything about it? The problem with much of this fitfully gripping, but just as often irritating, book is that much of the action is seen through Pilot's eyes, and he is a notoriously unreliable witness; he also appears to be omnipresent and all-knowing, which makes him a convenient substitute for the author. There is some vivid writing, and a certain eerie atmosphere is created around this weird family. But Moore Smith seems so intent on tricking the reader?innumerable red herrings are cast before us as to the real guilt in Fiona's disappearance?that one tends to lose patience with the whole proceeding. When even the dead Fiona is granted a narrative voice, briefly, about her grisly demise, it seems that authorial license has overrun the mark. Moore Smith has talent?his evocation of the trauma created over the years by Fiona's fate is telling?but his book is too disorganized and ill-focused to be an effective thriller, and too determined to provide some lurid chills to be the imaginative literary fiction it aspires to. (July) (c) Copyright PWxyz, LLC. All rights reserved
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