The tale is threaded with admirably sharp prose and has a controlled, deliberately jagged pace, but the deliberateness of...
You have to hand it to good girls: When they go bad, they work hard at it. They don’t just try drugs, they take every drug, and they don’t just get depressed, they get themselves committed and compare themselves to Sylvia Plath when they get electroconvulsive shock therapy.
The first-person narrator is a smart, sullen and difficult young woman. Her mother died when she was young, and her father, a dashing actor, disappointed her in the standard ways (never having enough time for her, never really understanding her, never loving her enough). After graduating from an exclusive New England college, where no one really understood her either, the narrator moves to the West Coast where she works as a personal assistant to an anxious B-list actress. She marries an up-and-coming rock star and gets a job as a stripper (a profession once shared by the author). She drinks, takes drugs, is committed to a mental hospital, gets an abortion, undergoes shock therapy and escapes to begin the cycle again in Seattle. If this seems like a lot of activity for such a young woman, and for such a slender volume, it is, but the frenetic pace of the sstory is offset by what is at times almost hypnotically spare prose. Shorn of the melodramatic adjectives and fascinated self-analysis of the usual tortured-young-woman novel, Wood’s language is often bracingly frank. The sometimes reportorial-style storytelling seems mannered, as if the author is straining to unite a dazzling individuality with a self-conscious crudeness. The stylized smartness of the narrator can seem intrusive and a bit pretentious, as when she compares her time in a mental institution to being sent to Dachau. These kinds of glib comparisons undercut the text, giving it the air of a writing-workshop exercise.
The tale is threaded with admirably sharp prose and has a controlled, deliberately jagged pace, but the deliberateness of its own edginess sometimes gets the better of it.Pub Date: Nov. 1, 2005
ISBN: 0-9728984-6-8
Page Count: 154
Publisher: Leapfrog
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 2005
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 first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.
Pub Date: July 11, 1960
ISBN: 0060935464
Page Count: 323
Publisher: Lippincott
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: July 1, 1960
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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