Creaky joints, rough seams, thin characters, intrusively insistent evocations of the 1950s: a tale, nevertheless, that...
Feldman (Lucy, 2003, etc.), a.k.a. Elizabeth Villars, imagines there being another survivor from the secret annex besides Otto Frank.
Peter van Pels (van Daan in the Diary) is imagined here as having survived Mauthausen, been processed as a DP, and sent to New York for a new life of security and health as an American. And Peter does very well indeed. He forms a profitable company that puts up tract houses in New Jersey, just ahead of the huge postwar migration to the suburbs. He also marries (living in one of his own houses), has two daughters, then a son—and, by rights, ought to be happy. Yet at story’s opening, Peter is in a psychiatrist’s office, irascible, short-tempered—and without his voice. When did he lose it? On the night, we learn, when his wife was reading Anne’s Diary. Peter will become increasingly rigid, paranoid, even suicidal—all because, as the reader knows from the very moment Peter steps off the ship, his desire for survival and security (his and his family’s) demanded that he pass as a non-Jew (he’d be “on the safe side of the line”), his blue eyes and brown hair making this possible in spite of the camp tattoo on his arm. But the price he pays for attempting to turn his back on the past grows clear only in those years when Anne’s Diary sweeps the world as play and then movie—and Peter grows outraged at the untruthfulness of it: the suffering left out, made not real, and the way—for dramatic effect—that his own father is reduced to a man who sneaks bread from the others while all are starving. Peter’s transformation is mechanical and hasty, but, to all, he will admit his deceit, “[crying] for the second murder of my parents, the one I had committed by silence.”
Creaky joints, rough seams, thin characters, intrusively insistent evocations of the 1950s: a tale, nevertheless, that achieves drive, even some seriousness.Pub Date: April 1, 2005
ISBN: 0-939-05944-8
Page Count: 288
Publisher: Norton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 15, 2005
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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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