Former Essence magazine arts-and-entertainment editor Little offers an uneven first novel about a contemporary African-American relationship set among elite black professional circles in New York. Alice Andrews, a twentysomething Mt. Holyoke scholarship graduate, is living in Manhattan but still working—as a newspaper reporter—in Newark, where she grew up in a just-barely middle- class neighborhood. Having ditched upwardly mobile buppie boyfriend Miles, Alice has started dating socially formidable Jack, a Harvard Medical Schooltrained physician descended from an aristocratic family of black Boston doctors and socialites. Because of Alice's education and smart style, Jack assumes that she, too, is a member of the old black bourgeoisie, so Alice keeps her parents, former neighborhood, and, most of all, brilliant but troubled older brother Lucas out of sight. (She has another reason for staying clear of Lucas: He sexually abused her when she was ten years old, something she has never told anyone.) The episode of abuse has left Alice insecure, wary of intimacy, and alienated from her hardworking but distant parents. When Lucas commits suicide, Alice's identity anxieties erupt and she flees Jack's Upper East Side apartment, where she's been living, for wise old Aunt Thelma's house in Cape May. There, Alice reveals her childhood secret and comes to terms with her past but still faces an imperfect future: She gets back to New York to find that Jack has slept with an upper-crust former girlfriend and gotten her pregnant, just as if they were kids from the 'hood. Alice marries Jack, newly aware that social class is no protection and that identities are made, not born or bought. Little's thematic reach exceeds her literary grasp by a mile, and her novel—part personal journalism, part sociological tract, part shopping guide for the socially mobile—intrigues but doesn't fulfill.
Pub Date: Oct. 8, 1996
ISBN: 0-684-80176-0
Page Count: 288
Publisher: Simon & Schuster
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 1996
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
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
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