A worthwhile if imperfect trip to Bluewater Bay, where agonizing grief is transformed by unconditional love.
A closeted movie star can’t grieve the loss of his old love until a new love shows him the way.
Lane’s (Lollipop, 2016, etc.) contribution to the multiauthor LGBTQ Bluewater Bay romance series offers her trademark angst and emotional sensuality. After a year of using alcohol to numb his sorrow over the tragic death of his longtime partner, closeted movie star Connor Montgomery posts a drunken video that nearly ends his career. At the urging of his agent, Connor leaves his Malibu beach house full of painful memories to take a role in a paranormal TV series filming outside Seattle. Connor is instantly attracted to his local assistant, Noah Dakers, whose mixed African-American and Native American heritage gives him the dark good looks Connor can’t resist. Lane averts a cliché by writing Noah as a mature and centered 20-something, not a star-struck local, but his instalove for Connor coupled with his flawless character detract from the romance. The sex scenes are explicit (including several kinks) and important, since the bedroom is the only place where Connor can mute the voice of his dead lover, opening himself to the present moment. Connor’s movement out of desolation is slowed by his reluctance to examine his lost relationship and by his dawning realization of the costs of being closeted. While affecting, it feels a little too slow at times. Noah’s lament near the end of the novel could have opened it: “You have like…an iceberg of damage in you, and you keep trying to think it’s all fine, but I keep wrecking myself on bigger and bigger pieces.” Without a clearer understanding of his motives, readers may wonder why Noah is willing to stay in the water.
A worthwhile if imperfect trip to Bluewater Bay, where agonizing grief is transformed by unconditional love.Pub Date: April 18, 2016
ISBN: 978-1-62649-385-8
Page Count: 338
Publisher: Riptide
Review Posted Online: March 16, 2016
Kirkus Reviews Issue: April 1, 2016
The phrase “tour de force” could have been invented for this audacious novel.
Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives.
Yanagihara (The People in the Trees, 2013) takes the still-bold leap of writing about characters who don’t share her background; in addition to being male, JB is African-American, Malcolm has a black father and white mother, Willem is white, and “Jude’s race was undetermined”—deserted at birth, he was raised in a monastery and had an unspeakably traumatic childhood that’s revealed slowly over the course of the book. Two of them are gay, one straight and one bisexual. There isn’t a single significant female character, and for a long novel, there isn’t much plot. There aren’t even many markers of what’s happening in the outside world; Jude moves to a loft in SoHo as a young man, but we don’t see the neighborhood change from gritty artists’ enclave to glitzy tourist destination. What we get instead is an intensely interior look at the friends’ psyches and relationships, and it’s utterly enthralling. The four men think about work and creativity and success and failure; they cook for each other, compete with each other and jostle for each other’s affection. JB bases his entire artistic career on painting portraits of his friends, while Malcolm takes care of them by designing their apartments and houses. When Jude, as an adult, is adopted by his favorite Harvard law professor, his friends join him for Thanksgiving in Cambridge every year. And when Willem becomes a movie star, they all bask in his glow. Eventually, the tone darkens and the story narrows to focus on Jude as the pain of his past cuts deep into his carefully constructed life.
The phrase “tour de force” could have been invented for this audacious novel.Pub Date: March 10, 2015
ISBN: 978-0-385-53925-8
Page Count: 720
Publisher: Doubleday
Review Posted Online: Dec. 21, 2014
Kirkus Reviews Issue: Jan. 1, 2015
BOOK REVIEW
BOOK REVIEW
PROFILES
PERSPECTIVES
A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.
Pub Date: July 11, 1960
ISBN: 0060935464
Page Count: 323
Publisher: Lippincott
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: July 1, 1960
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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