A dark, violent story with a heart.
McLennan’s debut novel tells the story of Johnny McPherson, an organized crime boss in Boston, and Riley Donavan, a young woman who’s drawn into Johnny’s world by chance and circumstance.
The book’s first section describes Johnny’s upbringing and his early life, including a stint as a circus worker and time in prison for a bank robbery. His story culminates in a decision to return to crime: “He’d follow his true calling and he’d have the money to keep everyone in style.” The second section follows Riley, whose mother’s tragic death is the catalyst for her move from the suburbs to Boston. There, she begins studying taekwondo and meets a kindly old man on the beachfront where she practices every morning. That old man is Johnny, who’s never anything but a perfect gentleman to her. With money and a few words of persuasion, he even secures her a job: “A girl’s coming in for an interview today. Her name’s Riley. You need to hire her,” he tells one employer. In the story’s third section, their two lives become even more entwined. Riley remains ignorant of Johnny’s criminal machinations, even as they destroy her family, and Johnny feels an unaccustomed remorse for ruining Riley’s life. As they grow closer and Riley’s life spins out of control, their bond cracks. What will become of their friendship when Riley learns the truth of who Johnny is and what he’s done? McLennan ably handles her characters and their crises, though her skill as a writer is most evident in the novel’s third part, when the plot keenly unfurls. With moral ambiguity and questionable intentions, the cast lends a disconcerting air to McLennan’s solid debut.
A dark, violent story with a heart.Pub Date: Aug. 15, 2012
ISBN: 978-0985394707
Page Count: 212
Publisher: Twisted Roots Publishing
Review Posted Online: Feb. 16, 2013
Review Program: Kirkus Indie
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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