From first novelist Meer, an uneven whirl with India's brat pack as they try to find themselves—sexually and culturally—in the bright lights of big cities like Bombay, Paris, and New York. Young American-born Sabah's search in India for identity, heritage, and just maybe a husband provides Meer with a loose framework for highlighting the cultural dissonance experienced by today's ``Indibrats.'' Like their European counterparts, they are poor little rich kids seeking sensation and sexual adventure in discos, gay bars, and updated versions of traditional stag evenings with ``nautch'' dancers—in which the nautch girls are boys. Sabah, the daughter of affluent immigrants, has grown up more American than Indian, though her parents have maintained close ties with fellow immigrants and with their family back home. Her best friend, Rani, returned to India when her mother divorced her American father. As Sabah, now a college graduate, leaves America and sometime lover Rob, her Uncle Jimmy, a famous Indian film star and singer, sets off from Bombay to join son Adam, who is supposed to be working in a Paris bank. Once in India, Sabah meets up again with Rani, a successful model but unhappy wife, only to lose her in a bizarre accident. She also socializes with jaded Indibrats and stays with a beloved grandma who serves good food and equally good advice. Uncle Jimmy and his son are not so fortunate: Sexually confused Adam flees his father and follows lover Marc to New York; Uncle Jimmy suffers a heart attack. The cousins' parallel journeys finally intersect—too neatly—in New York as Sabah, who has come home even more confused about herself, accidentally meets Adam, seriously injured while carousing with friends. A former journalist, Meer has an eye for detail and setting, but her characters and their lives are thin constructs—the habituÇs of glossy mags rather than solid novels.
Pub Date: July 1, 1994
ISBN: 1-85242-325-0
Page Count: 280
Publisher: Serpent’s Tail
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 15, 1994
BOOK REVIEW
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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