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The mood turns dark, however, with the introduction of Patrick, a thirtysomething Wall Street trader who collects women and spends his evenings tying them up in his room. In short order the book's easy comedy is torqued into something more dramatic by Patrick's descent into violence. That Schickler doesn't play to his strengths is not necessarily a bad thing: one admires a writer who reaches beyond facility to something more difficult. But the transition from lighthearted sexual ronde to dirty realism is a bit bumpy. On the other hand, the novel's picture of a dark, desire-ridden Manhattan is an attractively seductive slice of escapism. The linked-stories format gives rise to a feeling of multiplicity, which is just the right tone for a book about a city crowded with pleasures. Describing James, a love-struck young accountant, Schickler writes: "His mind tonight was on the fine and the illicit pleasures of the planet, on their merits and dispersement. Some people cut daisies, thought James. Some visit Wales, or choose cocaine, or dig latrines for the poor and the weak." Everyone, it seems, is after something different. But it's desire itself that interests the author of Kissing in Manhattan. --Claire Dederer
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