Under Radar

Overview

Tom Levy is guilty. Years ago the young lawyer worked a brilliant insurance scam that left him wealthy, but now, desperate for distraction, he can't think straight. He hopes a Jamaican vacation with his wife and two daughters will save him, but the hotel lacks the sex and uncertainty Tom craves, and he is forced to find distraction in a married woman. He hovers near her, afraid to talk but certain that she is a prize her oafish husband does not deserve. And then one night, at a beach bar reggae concert, the ...
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Under Radar: A Novel

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Overview

Tom Levy is guilty. Years ago the young lawyer worked a brilliant insurance scam that left him wealthy, but now, desperate for distraction, he can't think straight. He hopes a Jamaican vacation with his wife and two daughters will save him, but the hotel lacks the sex and uncertainty Tom craves, and he is forced to find distraction in a married woman. He hovers near her, afraid to talk but certain that she is a prize her oafish husband does not deserve. And then one night, at a beach bar reggae concert, the husband goads Tom's four-year-old daughter into an act so vulgar that Tom vows the man will pay for it with his life. But when he fights the man atop the Dunn's River Falls, it is Tom who must deal with the consequences of his actions - and he is forced to face the inner darkness that has, until now, flown safely Under Radar.
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Editorial Reviews

The New Yorker
In Tolkin's latest black comedy, Tom Levy, a successful lawyer, isn't enjoying the Jamaica vacation he has taken with his wife and their two daughters. The other guests at the hotel seem hopelessly bourgeois, and Tom -- who has made a small fortune from secret financial improprieties -- fancies himself a more dangerous character. After an incident at a reggae performance in which another man encourages Tom's four-year-old daughter to dance in a manner that Tom feels is inappropriate, he proves just how dangerous he is by committing a brutal murder. This apparently senseless act lands him in a Jamaican prison, where he begins a strange, difficult transformation. Before the murder, Tom imagines that he will "never be a better father than on this walk, witness to his own awesome criminal and loving nature," but his introspection evolves from profoundly poisonous self-delusion to a conditional wisdom.
Publishers Weekly
The author of the acclaimed, Robert Altman-adapted The Player fumbles with this rambling chronicle of a man's life and the retribution he faces after committing a senseless murder. With money made through insurance fraud, jaded and misanthropic Tom Levy takes his wife, Rosalie, and two young daughters to Jamaica. Bored by the tame surroundings of the family-themed resort, he starts fantasizing about Debra, a woman he spies on the beach. At a reggae party, Debra's husband, Barry, innocently persuades Tom's four-year-old daughter, Alma, to dance, and she starts gyrating her hips provocatively. An infuriated Tom takes Barry's interaction with the girl as "burning a child's dignity for laughs" and decides to kill him while both families take a guided tour of the island. Since his earlier felonies, Tom has been obsessed with going to prison, and he buys himself a life sentence by pushing Tom off a waterfall, in full view of everyone. From there, the novel devolves into some lengthy mythic storytelling as Tom emerges from nearly seven years of self-imposed silence, his hair shocked white from a condemned prisoner's spiritual allegory. When he clumsily recites the dead man's tale to the other prisoners, they are all miraculously set free, and Tom tries to reclaim the family that has gone on without him. Though pitched as a thought-provoking story about life's "infinite battalion of choice and consequence," it is marred by its uneven pacing, belabored existential tone and absurd premise not to mention its unsympathetic protagonist. Agent, Kim Witherspoon. (June) Forecast: Though the success of The Player is a definite selling point, Tolkin's latest will likely remain in the area described by its title. Copyright 2002 Cahners Business Information.
Library Journal
The author of The Player crafts another cautionary thriller, this time about a man vacationing with his family in Jamaica who crosses over the line to murder. Copyright 2001 Cahners Business Information.
Kirkus Reviews
A slender tale that begins like one of Tolkin's trademark black comedies (The Player, 1988; Among the Dead, 1993) before veering off into a fable far riskier. Dragged on a Jamaican holiday by his wife, Tom Levy can't relax. Instead of settling into the apartment-style hotel Rosalie has chosen as suitable for their daughters Perri, 9, and Alma, 4, he amuses himself by recalling his criminal past (he'd taken part in an insurance scam years ago) and embroidering his favorite story (his erotic adventures with a female stranger). Then the stranger arrives in the person of Debra Seckler, who he's convinced "was everything he had ever needed from a stranger." Instead of initiating an affair with her, however, Tom takes an instant dislike to her husband Barry, especially after he encourages little Alma to dance in a way Tom finds demeaning, and after luxuriating in fantasies of Barry's violent death, kills him in a setting that practically guarantees the murder will be caught on videotape. This story, which might well have stood alone, is only a prelude to a sea change in Tom's life. Tried and convicted, he spends seven years in Spanish Town Prison, utterly forsworn by Rosalie, before awakening one day to the realization that he has no recollection of how long he's been there or how his hair came to turn white. His fellow inmates tell him that he'd stopped talking for years after the condemned prisoner placed next to him had whispered some secret story into his ear. At length, Tom recalls the story-its heart a conflict between a Catholic missionary and a goddess worshipper-cueing a series of increasingly problematic tales, his own and those of others, that eventually close his life's journey in aneatly unresolved circle. Scheherezade without the urgent threat of death: an enigmatic yet haunting tribute to the power of storytelling.
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Product Details

  • ISBN-13: 9780802139900
  • Publisher: Grove/Atlantic, Inc.
  • Publication date: 6/10/2003
  • Pages: 224
  • Product dimensions: 5.46 (w) x 8.25 (h) x 0.58 (d)

Read an Excerpt

UNDER RADAR
A NOVEL


By Michael Tolkin

Atlantic Monthly Press

Copyright © 2002 Michael Tolkin.
All rights reserved.
ISBN: 0871138484



Chapter One


When he was twenty, Tom went to a party where a witch told him, "You will be found out." Some years later, before he was caught, Tom was on a plane to Jamaica.

    He had two little girls. Perri was nine and Alma was four. Tom wanted to take the family skiing, but his wife, Rosalie, thought that the routines of ski school, in and out of the cold, the agony of lost mittens, the struggle with ability, would give Alma tantrums, so Tom agreed with—or rather, conceded to—his wife, that the children would be happier in a warm ocean, on an island like Jamaica; and, never having been there, they went. They planned to stay for two weeks.

    Rosalie accepted a travel agent's recommendation for the Montego House because all of the hotel's rooms were apartments, with a bedroom, small kitchen, and living room. The hotel assigned every family a baby-sitter, a local woman given the quaintly offensive title "Girl Friday." When Betty, who met them at registration and showed them to their apartment, proved cold and unhappy, Tom agreed with Rosalie that rather than talk to the woman about her bad mood, or ask the resort's manager to replace her with someone who smiled, even artificially, they would keep her, so the children, in their first extended contact with a black woman, would have to fight for affection instead of collecting it as part of the Montego House all-inclusive package, along with free use of snorkels.

    On the second day, Rosalie sent a postcard to the travel agent, thanking him.


    Dear Otto,

It's glorious here. The children are happy. You
were right, the ginger beer is addictive.


    Tom had his own sour opinion, too brutal for a postcard. Though he knew from all of his travels not to trust his ill humor on arrival until he had slept a full night, his first tour around the hotel, past the swimming pool, the beach, and the central bar gave him little hope that his mood would improve. He hated the Montego House for all the reasons Rosalie adored it, for what appealed most to a good mother: it was safe for children. Were Tom to send a postcard, he would have listed his complaints against the hotel's bourgeois want of eccentricity, would have said that it was homey, with no sex, with none of the drama of sex. He'd seen the brochures for other resorts, with packs of horny modern women out for the orgy, and the men who hunt them, ballplayers, contractors, young doctors, guys with cash, guys who exercise so they can look like ballplayers. If this had been a family hotel for the very rich ... but it wasn't. Everyone at the Montego House was comfortable without being wealthy, and this annoyed Tom, because he had a lot of money and he could have afforded a first-class resort with a bigger pool and room service. It was Rosalie who chose this, to save her children from a luxury that would forever spoil them for modest pleasure.

    When Tom said to Rosalie after that first cruise around the grounds, "You know what this is? I figured it out. There's a brilliant conspiracy out there that had us committed to a minimum-security prison for families," Rosalie told him to shut up.

    It was easy for Tom to comply, since there was so much that he kept secret from his wife.

    He didn't play tennis, he didn't play golf, but he did have a sport. On every vacation he always found a woman to secretly cast in a complicated story he built for his own entertainment, he always fixed his attention on a stranger in order for the trip to develop within its morbidly predictable and cloistered order the possibility of possibility, no matter how imaginary, from which he could draw some distracting energy. He had never had an affair after marrying Rosalie, and had very little experience with women before her. No, the whole structure of the game was hidden from the world. He never crossed the boundary to the point where fantasy made a dent on matter, and he always burned, by vacation's end, his dense unwritten novel of travel, secret meetings, murder, punishment, and passionate enlightenment.

    He understood that he might be a very sick man. He persisted anyway.

    Looking for a secret movie star, Tom strolled by the pool, dividing the mothers into categories. There were the good mothers, always attentive about settling their children's quarrels, married to the good men, fathers who changed diapers, threw the ball, and, without being asked, went back to the room for sunscreen; a few good mothers married to the wrong men, fathers who played deaf to their children's appeals for play; a few sets of bad parents whose children screamed and cried and got their way; and one divorced mother with her quiet son. What an awful place for a divorced mother! There wasn't a single man anywhere, not even a single father. Of course not; the single dads were at the sexy hotels. All of the men at the Montego House were with their wives. They were here because they could afford nothing better, and they could afford nothing better because they were good parents, because they put family ahead of work, taking the world as it came to them, and this timidity or acceptance, the frame in which they embraced their lives, outlined the limit of their ambition. Tom found them, like all the genially cooperative people of the world, impossible to talk to. "I can't talk to these people, they're so emotionally sterile," he said to Rosalie, which she took as the start of a fight: "I told you not to do this to yourself. Have a drink and relax."

    He couldn't follow her advice because he wasn't drinking, which made things worse, made him unappealing. Standing at the bar sipping cranberry juice and tonic, when he casually mentioned to a few of the dads that he was unhappy with the Montego House, he was disappointed because no one agreed with him or even wanted to hear his theories about the trapped almost-rich. He felt their suspicion. They assumed he was a self-declared recovering alcoholic, and since the hotel's open bar served good brands and the bartenders poured generously, the guests, within their own dull moderation, drank more heavily than they did at home. What they didn't want was anyone's disapproving eye on their third daiquiri of the morning. So it was Tom, sober, who ranted like a drunk. And he had stopped drinking for only a month before the trip, to see if his life felt any different, to see if he could stop the unending noise of his mind. Even though he rarely finished more than two glasses of wine at dinner once or twice a week, he felt polluted by the world, and toxic to himself, and so he wanted to purge his system. After a week the experiment yielded a result: Tom saw no real difference between having a drink and not. Worse, with every desire for a drink that challenged his abstention, he attacked himself using a fervor equal to his self-flagellation for the mildest hangover. If there was no difference, why not enjoy a beer and take a vacation from himself? Even Rosalie told him to drink: "You don't like it here because you're sober for no reason. You're not an alcoholic. You can drink. Have a drink, Tom."

    He said he would think about it. He knew that the useless asceticism of his self-denial was feeble, a bargain virtue. By holding to his sobriety for the benefit of his detachment, Tom watched the dissipation of his integrity. So why not have the drink now?

    Still he resisted escape; he preferred the constant nudging awareness of his need for a drink, just one or two beers. When he forced sobriety, everything he saw caught an echo or reflection, depending on his perspective, of the broken promise that holds time to substance. These stupid contradictions were lost on the other guests, who smelled his contempt for them and stayed away, sitting in the shade of the thatched roof over the bar, laughing with the bartenders.

    So he would pretend to be drunk, to himself. He remembered the merciful benefits of a rum at lunch and located within the streams of his scorn toward everyone there a sappy appreciation for these dull wives, and forged from this a maudlin horniness for them, and convinced himself like a lush at closing time that their unimaginative faces, inclined to magazines and weak novels, hid the greatest perversions. He would save them from their sex-panicked husbands. In his counterfeit booziness, staggering between sympathy and sadness for the mother hens of the Montego House, he scanned the air for signals of lust or desire, hidden in this palace of familial sincerity that cried out to the observant, "I do not love the man I married." What to look for? What mattered? Which of you wants sex in a closet with a stranger? Yonder woman whose expensive haircut matches her ironic Jackie-O-with-Ari sunglasses, makeup during the day, and an especially pretty bag filled with fashion magazines and French suntan lotion? Maybe. How slowly did some women lower themselves to a chaise, how carefully did they arrange their bottles of water, magazines, and tubes of sunscreen? Did they smile inwardly at an idea of their own, not to be shared, a perception, a memory, a retreat from the impossibly uncosmic irritating banality of a swimming pool crowded with spoiled children? The woman reading Architectural Digest, why was she a likelier pervert than the woman reading Cosmopolitan? And the wider the brim, the more expensive the sunglasses, why, Tom wondered, was he so sure that these details advertised overdue wickedness? Or was theirs a bogus decadence, their broad displays of catalog libido and commercial sensuality a sign of the weakness of their impulse to sin? Were these indications of style only a more refined indication of panic and loneliness, which amplified these mothers' regretful desires into a drama they never really wanted, a drama for which they had no genuine aptitude? Or did they have aptitude but no worthy partners? He pitied the women for their men. What is it about this level of society that produces such dull men, the men of the middle? And why am I different? he asked himself. I can smell depravity on the unhappy wives because I can read the lock on a secret, because I have a secret. Yes, how many of the men here, like me, are ten years past unpunished felonies?

    When he was two years out of law school, Tom had joined an old friend, Paul Farrar, in a swindle. Farrar knew three doctors willing to go along on a risky venture, faking accident claims to take money from insurance companies. To complete his plan, Farrar needed a few lawyers. Just as he recruited Tom, and Tom recruited another lawyer, so Farrar's other recruits added the few necessary allies. Tom never knew the names of everyone involved, but Farrar had done his homework carefully and managed the crime with a cautious limit on greed; after the gang made enough money, the partnership broke up. Farrar, a genius of persuasion, insisted that each man at the start admit the evil nature of the endeavor, with no justification, no cynicism; no one could say that the insurance companies deserved this. "We're stealing," said Farrar, "that's all we're doing. We're going to make some money, and then we're going to stop. And to settle the accounts a little, we're going to give some of that money back to the world, as charity." He insisted upon this.

    The swindle lasted ten months. The alliances within the group had never been more socially complicated than the conspiracy needed, so they hardly ever met when it was over, having little to talk about except their history. Among the people who knew one another already, Farrar discouraged social connections, on guard against friendships among the wives, which could promote more time shared by the men and might lead to private chats beside the barbecue, one testing the other to see if he was game for another round of big money, which might lead to further crime, which might lead to arrest and then betrayal and the exposure of this careful fraud, and Paul Farrar's arrest. Tom was certain that Farrar would have killed to save himself. Seven years on, the statue of limitations had passed and they were free in the eyes of the law. Farrar joked, "With time off for good behavior, we'd be getting out about now."

    Tom liked to talk to Farrar about the implications of living with the memory of sin; it was one of Tom's favorite subjects, how the knowledge of an unpunished crime grinds a lens through which the world looks small and more easily managed. Paul noted to Tom that of the four marriages in the group, there had been no divorces. "I picked right," said Farrar. "Everyone I picked was stable."

    They knew that guilt destroys some men, and Tom credited Farrar for refusing to pretend that their occasional streams of bad feeling weren't guilt. Each of them discovered that the world made more sense, knowing that anyone they met might just as easily have a secret such as theirs. Over the years, as the crime passed into a dimming legend even in his own dossier, Tom confessed small pieces of it to new friends, or alluded to his villainous past in a way that gave the impression he was talking about a few years wasted on drugs, hardly a special event, but he cast his net with a careful intonation when he wanted to test a hunch with someone he suspected of his own criminal story. He didn't expect anyone to suddenly tear the wrapping off his secret any more than Tom would have opened up. If the other was as vigilant against exposure as Tom, he would, with tact and speed, move the discussion to neutral territory. Then Tom knew. Skilled deflection was the giveaway.

    What if he pushed himself to one of the women by the pool and said straight to her face, "Listen to this carefully: a lot of people don't get caught, and sometimes there's no way to look at a man and guess his crime, but let him lift the veil on his own past, just a little, and when you know your own felony, you can see it on him like a tattoo." What then?

    Five days into the vacation, and none of the women had yet dragged a fantasy out of him. And then on the sixth day, the airport bus delivered her.

    With hair short as Joan of Arc's, the woman on whom Tom would fix his fantasy sat with her feet in the water, reading an ancient edition of Sense and Sensibility. The book had a faded hunter-green cover, with the title embossed in a chipped gold. She wore a wedding ring and a small diamond. Tom was jealous of the woman's husband. Here was a woman careless enough to risk staining a rare book with suntan oil, just for the pleasure of reading a nineteenth-century novel in a nineteenth-century binding. What a wife she must be! What a companion! How well must she encourage her husband if she allows herself such a violation of custom. There's a husband who can share his secrets with his wife! But why are they here? The husband of such a woman, wouldn't he be a greater success than the rest of the men at the Montego House, elevated by his wife's beauty, confidence, taste, and careless attachment to precious things, wouldn't he have the wealth for a suite at the Four Seasons, or a villa with a staff and room for his friends? Or was Tom's little movie of their success the payoff for an ambition she could have helped her man achieve, but together, servants of the highest moral style, they had rejected? Did she teach him that she was all the prize a man could want? Did she reward him for leaving the office in time for dinner with the children, helping them with their homework, reading poetry in bed? She could love him so well that her love tamed his striving after the real cost of the Four Seasons' fluffy towels and twenty-four-hour in-room dining. There's a noble wife for these greedy days, there's the woman of valor! Take the rare book to the beach because you want to. Don't work so hard that you miss the pleasures of the moment.

(Continues...)


Excerpted from UNDER RADAR by Michael Tolkin. Copyright © 2002 by Michael Tolkin. Excerpted by permission. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.


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