An uneven novel whose disparate parts make a sexual awakening ridiculous and sometimes apocalyptic but that offers a keen...
In an unabashedly erotic novel, Kneen (Steeplechase, 2013, etc.) follows the science fiction–flavored adventures of a young woman whose sexual awakening is set into motion by works of classic erotic literature.
Holly White is fascinated by sex but remains a virgin. This is partially because she and her best friends—all beautiful, privileged college students—have made a pact of chastity and wear rings engraved with the words “true love waits.” It's also partially because when Holly finds herself aroused, a glowing blue wetness emerges from between her legs, and this abnormality, a potential “beacon” of lust, shames and disturbs her. When she stumbles into an invitation to join Sex Club, a book club that discusses the erotic classics, she finds both intellectual excitement and the nerve to pursue her sexual freedom. At first, Holly’s explorations follow the predictable narrative of a girl flinging aside her cloistered youth for a bohemian discovery of womanhood, complete with endless and tiresomely described trysts. As the novel progresses, her escapades become stranger and stranger, and the story takes a breakneck left turn into a bizarre realm of science-fiction lunacy. Kneen attempts to weave threads of this strangeness throughout the novel—dwelling on Holly’s ectoplasmlike affliction and dipping into a secondary storyline about a scientist and the machines he built to collect the energy of orgasms—but the surreal elements feel unbalanced and awkward. They get in the way of the novel’s most pleasurable aspect: an infectious enthusiasm for the books that fuel the emotional action. Reading about Holly reading James Salter, Angela Carter, and a slew of others and finding the experience so wholeheartedly transformative makes the reading list in the back of the book irresistible.
An uneven novel whose disparate parts make a sexual awakening ridiculous and sometimes apocalyptic but that offers a keen appreciation of the erotic writing of others.Pub Date: Jan. 12, 2016
ISBN: 978-1-922079-38-1
Page Count: 293
Publisher: Text
Review Posted Online: Nov. 2, 2015
Kirkus Reviews Issue: Nov. 15, 2015
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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