Vintage Bradford, with lavish descriptions of the pleasures of palate and palette, victims as virtuous as they are gorgeous,...


Bradford’s latest rags-to-riches heroine is a London fine-art consultant with a dark secret—several of them, in fact.

Annette Remmington is still plagued by nightmares of the childhood sexual abuse she suffered. Rescued by a kindly aunt who paid for her education, Annette had a brief career as a painter before her marriage to dashing gallery impresario Marius Remmington, 20 years her senior. Only Marius knows of Annette’s other dark secret, which gives him leverage to keep her complacent and docile. When inquiries are made about a certain Hilda Crump, Annette fears that if the truth were known, she could land in jail for murder. Now 40, Annette has scored a coup. A new client, Christopher, has inherited a cache of art from his eccentric Uncle Alec, including a Rembrandt, which Annette has just auctioned for several million pounds. There are plenty more canvases lurking at the gloomy old castle formerly owned by Uncle Alec, who, everyone agrees, went a little dotty after his fiancée, clad in her wedding gown, hanged herself in the bedroom. Annette is planning another auction for Christopher, which will include a previously unknown cast of Degas’ sculpture The Little Fourteen-Year-Old Dancer, and paintings by other Impressionist masters. However, Annette and her advisors have discovered that several pieces in Uncle Alec’s collection are forgeries. When Marius insists she promote her upcoming auction, she agrees to talk to Jack Chalmers, a reporter Marius has handpicked. Little does Marius suspect that Annette and Jack will immediately recognize each other as soul mates. And little does Annette know that when Marius is in Barcelona supposedly working on a book about Picasso, he’s actually emulating Picasso’s philandering behavior. The plotlines proliferate until we realize that secrets from Jack’s childhood are the key to unlocking the dilemmas keeping him and Annette apart.

Vintage Bradford, with lavish descriptions of the pleasures of palate and palette, victims as virtuous as they are gorgeous, cruel lotharios and a satisfying if somewhat far-fetched resolution.

Pub Date: Oct. 1, 2010

ISBN: 978-0-312-57808-4

Page Count: 432

Publisher: St. Martin's

Review Posted Online: Sept. 8, 2010

Kirkus Reviews Issue: Oct. 1, 2010

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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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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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