The title is only half right: this sturdy distaff Godfather (Godfather II is actually a closer model) broadens out, in the sequel of the Godmother's son, to ape an even more venerable literary model. When a quarrel over the family honor leaves both her parents dead back in Miseno, teenaged Maria Croce Falcone, already married to one man and pregnant by another (a smooth-faced priest), leaves one day in 1920 for America, where she'll counter more of the same kinds of threats—from her beloved brother-in-law Claudio's brutal foreman; the blackmailing padrone who impregnates her with a second son; the rivalry, after she starts to sell her homemade brandy and grappa, of other bootleggers on the Lower East Side—with street-smart confidence and dispatch (she keeps the padrone's pickled privates in a canning jar). It looks like another routine jaunt through the roaring 20's for Mancini (Talons, 1991, etc.). But as the Falcone fortunes change with the 1950 ordination of Maria's son Angelo, so does the mode of the story, as accelerating allegorical details add a note of unintentionally hectic comedy. During his brief three-year ministry (which is initiated by the gift of his cousin Johnny's severed head), Angelo is launched on a political career by that fisher of men, Simon Fisher (who'll later deny him at his arraignment); tempted by fallen Lena Morales, who washes his feet and dries them with her hair; put on the spot by Jewish rival Herbert Koenig; betrayed by his old pal Junior Scario for 30 shares of a silver mine; arrested by hand-washing prosecutor Roman Pyle, whose wife had a nasty dream about a priest; and finally laid to rest after his body disappears from the morgue. Mario Puzo and the Synoptic Gospels: it doesn't get any tackier than this.
Pub Date: Oct. 28, 1993
ISBN: 1-55611-376-5
Page Count: 288
Publisher: Donald Fine
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1993
BOOK REVIEW
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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