The daughter of Harold Robbins debuts with a Paris romance in which Cinderella marries Prince Charming, only to find he’s secretly the Beast. Robbins overstates her heroine’s every feeling and supercharges each character into near-caricature. She clearly loves landscape and description and reels off plenty of brand names stickered to the rich and famous. Motherless, penniless American Djuna Cortez, only 21 and alone in the City of Light, has just had her charge card cut off by her surly father, Emile, when she receives a letter stating that she’s inherited vast wealth from Emile’s father, the well-known painter Joaqu°m Carlos Cortez. (Emile himself is passed over, for reasons revealed only near the close.) Aside from her grandfather’s bank accounts, Djuna also inherits his large apartment and studio, his paintings and chateau, publishing rights to his ten journals, and his winery in the Loire Valley. As Djuna reads the journals, the story alternates between her firsthand account of Parisian high society in the mid-1980s and Joaqu°m’s notes about his youth as a budding bohemian artist in Paris during the ’40s and ’40s: his love affairs, models, and ritzy friends, including towering but luminous egoist/hat-designer Mitya Troubetskoy and, much later, budding novelist Pascal Maron, both of whom have been Joaqu°m’s lovers and are now partial inheritors. Djuna’s snooty half-brother introduces her to six-foot African model Navarine, who in turns leads her into a romance with Jean-August Briard, a strangely reserved but blindingly handsome “cosmopolitan hero out of a Fitzgerald novel” who knows everything about grapes and offers to help save her failing winery. Unfortunately, Djuna discovers only after she marries him that his reserve masks sadism. Within months, she’s bruised, battered, and seeking divorce. Then Jean-August really gets mad . . . . Carefully crafted for its genre, but only faintly reminiscent of anything real.
Pub Date: June 1, 1999
ISBN: 0-312-86755-7
Page Count: 384
Publisher: Forge
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 15, 1999
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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