| |
| | Boxed In |
 | | And even though Kid McCoy -- polygamist, pugilist, flim-flam artist and potential politician -- may lack the freakishness and the pathos of medical oddity, Strauss' invention of his character marks out a greater significance than the scant facts of his biography would seem to indicate possible. |
 | | McCoy, we're told, is more than just a boxer; we see him briefly as a con man, as a lover (with three concurrent wives, although his polygamy is more a matter of not divorcing than simultaneously marrying), and as a public figure with political ambitions. |
 | | McCoy's flim-flam capers serve as an apprenticeship in public relations, and are quickly glossed-over; the only one that gets more than passing attention, a set-piece at the end of the novel, is so unclear and incoherent (especially given the clarity we expect Mamet-esque confidence games to be delivered with) that Strauss' previous glibness seems preferable. |
| www.citypaper.net /articles/2002-06-06/books.shtml (715 words) |
|