Novelist, essayist, and playwright Indiana (Rent Boy, 1994; Gone Tomorrow, 1993, etc.) brings together the insane events and natural disasters of our day in a novel that's most emphatically not a roman Ö clef but a fiction in which real life serves as ``honorary ballast for an entirely speculative'' narrative. The subject is death, Los Angelesstyle, and at story's center is the ongoing murder trial of two brothers who are accused of shooting their parents to death in what prosecutors claim was cold- blooded murder for inheritance, and what the defense claims was a preemptive strike against a sexually abusive father and his enabling wife. Sound familiar? Transcripts of the trial punctuate Indiana's larger narrative, which mainly follows the experiences of Seth, a gay East Coast journalist on assignment to cover the high- profile courtroom antics. Panoramic in scope, with all the sub- stories loosely linked, this pansexual melodrama seems to suggest that we're all killers in one fashion or another, and that father- son incest is at the root of much maladjusted behavior. Indiana waxes ironic about a wide range of types, from the presiding judge's secret life as a stalker to a taxi driver with AIDS whose affair with some rough trade is far more dangerous than he realizes. There's also the son of the washed-up soap star, who casually kills male tricks; the key trial witness with a bad case of Tourette's; and an overweight housewife who hopes to leave her husband for one of the brothers. Seth finds that violent dreams and tacky realities are hopelessly intertwined in California. Indiana's wickedest cuts, though, are reserved for the minor players, especially the on-target jabs at characters who resemble Dominick Dunne, Kathy Acker, and Jamaica Kincaid, to name a few. The clever parts never add up to a convincing whole here, just lots of trite (if acidic) riffs on our peculiarly skewed culture. (Author tour)
Pub Date: July 1, 1997
ISBN: 0-385-48429-1
Page Count: 320
Publisher: Doubleday
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 1, 1997
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
IN THE NEWS
A strict report, worthy of sympathy.
A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.
"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….
A strict report, worthy of sympathy.Pub Date: June 15, 1951
ISBN: 0316769177
Page Count: -
Publisher: Little, Brown
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: June 15, 1951
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
APPRECIATIONS
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
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