Vivid and complex, this novel is a portrait of a very specific moment in history that feels just as vital today.
In his debut novel, Howard pits youthful idealism against the realities of post-colonial Latin America.
Peter Franklin is a Fulbright Scholar living in Guatemala City in 1963, researching the Great National Literacy Campaign and working closely with the U.S. Embassy. At an embassy party he meets Laura Jenson, a Peace Corps volunteer living in a village outside the city; her initial work with wells was cut short after a corrupt official made off with the funds, leaving her to work on launching a literacy program for locals. Peter and Laura slowly forge a relationship, and when Laura becomes involved with a growing revolutionary movement, Peter starts working with her. But quickly the state security forces become aware of their involvement, and the young couple become fugitives in a country they had once hoped to help through peaceful means. Telling a story about Latin America through the eyes of U.S. citizens is a risky move, but it’s one the author pulls off well. Capturing the sense of intellectual hope that resonated in the JFK years, the author has crafted a book that interrogates the place of Americans in the developing world and their capacity for helping solve problems created in large part by their own government’s policies. The novel is subtly critical of the “White Savior” narrative, although at times the story (told from the perspective of a young white man) is overwhelmed by the clear sense of entitlement even supposed liberal reformers can feel. But ultimately this is a cautionary tale for those who believe it is their place to “fix” a country to which they do not belong, a lesson that is just as important today as it was in the early 1960s.
Vivid and complex, this novel is a portrait of a very specific moment in history that feels just as vital today.Pub Date: June 15, 2017
ISBN: 978-1-941861-394
Page Count: 315
Publisher: Harvard Square Editions
Review Posted Online: May 1, 2017
Kirkus Reviews Issue: May 15, 2017
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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