In Strickland’s novel, one person’s messiah is another’s juvenile delinquent.
Annie Mullard had it all—a great job as an airline pilot, a handsome and successful husband, three beautiful children and a big house in Chicago. When the recession hits, Annie loses her job and the comfortable life she has known begins to collapse; her husband is cheating on her, her kids don’t like her and the family’s financial situation is so tight that she has to wheel her clothing down to the Golden Coin Laundromat when the washing machine breaks. Annie is fed up, frustrated and seriously depressed. Although she prays for help, the sudden appearance of Violet at the Laundromat is not what she had in mind. Violet looks like a goth teenager and claims to be a messiah who can help Annie change her life though the power of positive thinking. Yet Annie is full of doubts, expressing understandable incredulity at Violet’s claims and scoffing at the idea that she can simply choose to be happy. Annie is a challenging case, and Violet spends nearly 23 chapters (set almost exclusively within the walls of the dingy Laundromat) trying to convince Annie that changing her thoughts and her attitude is the key to changing her life. As a teaching method, and further proof that she just may be a messiah, Violet beams Annie into past lives and even a possible future, forcing Annie to truly reflect on her attitude and her choices thus far. Slowly, Annie realizes that she just might possess the power to will her way to happiness. Strickland, in her second novel, effectively combines the earnestness of Frank Capra’s It’s a Wonderful Life with the didactic voice of The Secret. With its timely, relatable story peppered liberally with pop-culture references and religious conviction, Strickland’s novel should strike a chord with readers who will relate to Annie’s struggles and search for a happier future. A lesson in faith and the power of positive thinking, all nestled within a satisfying story.
Pub Date: March 20, 2012
ISBN: 978-0981979458
Page Count: 228
Publisher: Kim Strickland-Sargent
Review Posted Online: Feb. 16, 2012
Review Program: Kirkus Indie
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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