For 1982, Wright Morris' "Victrola"—a Chekhovian tale of man-dog attachment—was clearly the story of the year: it was the standout of William Abrahams' strong O. Henry Award collection (p. 191)—and it's certainly the standout of this less impressive gathering by novelist Tyler, 1983's guest-editor for the Best American Short Stories series. While less idiosyncratic than some previous guest-editors, Tyler's obvious preference for realistic domestic situations—mildly quirky, mostly non-urban, usually more than a bit sentimental—results in an anthology without much variety; you'll find nothing very stylish, very comic, very adventurous or disturbing here. Bobbie Ann Mason's "Graveyard Day," also a highlight of 1983's Pushcart Prize collection, is by far the best in this dominant vein: one of her fine, offhand portraits of ordinary people (a divorced mother on a graveyard picnic with daughter and beau) achieving some grace in lives defined by TV and fast-foods—a Middle America viewed with precision but no condescension. Engaging, too, are slightly offbeat sketches by Julie Schumacher (a super-competent mother's near-magical approach to her own illness) and Louise Erdrich (an outsider's wry view of the marriage between an Indian man and a huge truck-weigher). And there are solid, surprise-less New Yorker stories on marriage, divorce, and kids—with John Updike deftly getting some extra texture by counterpointing divorce with the "Deaths of Distant Friends." Only Ursula Le Guin, however, offers a little daring: her neat, deadpan "Sur" posits an all-female Antarctic expedition that predated Amundsen. Only Laurie Colwin tries, with semi-success, to create a real voice: a middle-aged man complaining—with some sex-role reversals and some affecting moments—about "My Mistress." And this otherwise sound-and-pleasant collection is marred by the inclusion of one truly ghastly item: "The Count and the Princess" by Joseph Epstein—an obvious, plastic, corny tale of odd-couple romance (a European count, a Jewish divorcee) that seems more like a TV-sitcom pilot than a serious short story. (Even Tyler's gushing, story-by-story introduction, which reads like a medley of her many book-ad blurbs, can't work up much genuine enthusiasm for this entry.) Still—one of the better post-Foley anthologies, with few risks and few inspired moments, but also with few pretensions or embarrassments.

Pub Date: Sept. 30, 1983

ISBN: 039534428X

Page Count: -

Publisher: Houghton Mifflin

Review Posted Online: Oct. 6, 2011

Kirkus Reviews Issue: Sept. 1, 1983

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While a few weeks ago it seemed as if Praeger would have a two month lead over Dutton in their presentation of this Soviet best seller, both the "authorized" edition (Dutton's) and the "unauthorized" (Praeger's) will appear almost simultaneously. There has been considerable advance attention on what appears to be as much of a publishing cause celebre here as the original appearance of the book in Russia. Without entering into the scrimmage, or dismissing it as a plague on both your houses, we will limit ourselves to a few facts. Royalties from the "unauthorized" edition will go to the International Rescue Committee; Dutton with their contracted edition is adhering to copyright conventions. The Praeger edition has two translators and one of them is the translator of Doctor Zhivago Dutton's translator, Ralph Parker, has been stigmatized by Praeger as "an apologist for the Soviet regime". To the untutored eye, the Dutton translation seems a little more literary, the Praeger perhaps closer to the rather primitive style of the original. The book itself is an account of one day in the three thousand six hundred and fifty three days of the sentence to be served by a carpenter, Ivan Denisovich Shukhov. (Solzhenitsyn was a political prisoner.) From the unrelenting cold without, to the conditions within, from the bathhouse to the latrine to the cells where survival for more than two weeks is impossible, this records the hopeless facts of existence as faced by thousands who went on "living like this, with your eyes on the ground". The Dutton edition has an excellent introduction providing an orientation on the political background to its appearance in Russia by Marvin Kalb. All involved in its publication (translators, introducers, etc.) claim for it great "artistic" values which we cannot share, although there is no question of its importance as a political and human document and as significant and tangible evidence of the de-Stalinization program.

Pub Date: June 15, 1963

ISBN: 0451228146

Page Count: 181

Publisher: Praeger

Review Posted Online: Oct. 5, 2011

Kirkus Reviews Issue: June 15, 1963

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The phrase “tour de force” could have been invented for this audacious novel.

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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. 22, 2014

Kirkus Reviews Issue: Jan. 1, 2015

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