This first book, a story collection showing immense mastery of character, dialect, and narrative, won the 1993 Elmer Holmes Bobst Award for Emerging Writers. Born in Fresno, California, Marsella lives in Paris and writes largely about people of the underclasses or Third World, men and women from places like Chile, Nigeria, Istanbul, Morocco, and Mexico, slipping like a cat into myriad psyches and argots. Though she writes usually in a voice mirroring that of her characters, she fears no oddity of language, coming up with nutty tidbits that drive you to the dictionary. (When did you last use nimiety, embrangle, emulous, or partible?) In ``Miss Carmen,'' a Chilean woman arrives ``in the Valley of San Joaquin'' in California, gets a job polishing silver for a rich woman, gets a crush on a Mexican foreman but loses him, perhaps through her own small-minded pride. In ``The Roommates,'' Mary, a big, lanky girl from Kenya, shares a room in Paris with Selma from Istanbul, then with Selma's lover, a Greek sweatshop foreman who also happens to be their married boss, and finally, after two years, abandons the dominating Selma to go live with an albino English gentleman in London. In ``Testimony,'' a Hispanic priest falls obsessively in love with his seminary's young atheist gardener and finds himself driven into invisibility, or so he thinks, as day by day his own body parts begin disappearing. In the comic title story, an unmarried Mexican woman living in Paris works for four years as a hired clapper for TV's ``Objets TrouvÇs'' (or ``The Lost and Found Show''), seeks her lost father through the personals, and, after she's betrayed by St. Jude, patron saint of the hopeless, finds herself instead. Distinguished indeed. May Marsella take on the novel.
Pub Date: April 15, 1994
ISBN: 0-8147-5502-X
Page Count: 200
Publisher: New York Univ.
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 15, 1994
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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