With the crafty-eyed precision of Don DeLillo and the humor of Neal Stephenson, a world where image is life and the Next Big...
A bitterly funny broadside on market-driven contemporary life.
In Middle City, a firm of marketing gurus—Tomorrow Ltd.—sniff the winds of change for any new trend or desire. Ursula Van Arden meets with co-worker Javier, who’s tragically poetic, and with boss Chas, who’s imposing (“He doesn’t look like other men, he looks like their impossible expectations for themselves”), in a playground where, like the ever-vigilant angels in Wings of Desire, they compare notes. Ursula is a former struggling artist trying to come to terms with her new life of surface-worshipping fetish-study and probably falling in love with Javier. The savage girl of the title is a homeless, apparently mute, mohawked teenager Ursula spied one day and who has become the inspiration for the latest “trend” Tomorrow Ltd. is pushing: the savage look. Soon, the group has talked a client into using the look to advertise their newest product—diet water—with Ursula’s schizophrenic sister as model. Ursula justifies her new career by listening to Javier, “This man who rhapsodizes about bubble pipes and weaves divinity into fishtail hems.” Once the savage look is launched, however, a new crisis emerges: it seems that Gen-X irony just isn’t working on preadolescent “tween” consumers, and so the agents of change launch themselves into their newest campaign: post-irony. Fortunately realizing that satirizing a world already oversaturated with unreal advertising and target marketing is a tricky deal, first-time novelist Shakar (City in Love, stories, 1996) pushes his story into the outer edges of fantasy while somehow keeping it rooted in the vicissitudes of the MTV age. The result is a crystalline satire of a preening media elite too exhausted with pillaging the minds of consumers to notice the collapsing world around them.
With the crafty-eyed precision of Don DeLillo and the humor of Neal Stephenson, a world where image is life and the Next Big Thing is a mouse-click away.Pub Date: Oct. 1, 2001
ISBN: 0-06-620987-0
Page Count: 288
Publisher: HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 2001
BOOK REVIEW
BOOK REVIEW
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 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
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