With snappy dialogue and a breezy tone that still manages to support emotional depth, the author keeps us turning pages and...
A Delaware beach town that's famous for being the best place to recover from a breakup embraces Summer Benson, an injured flight attendant intent on healing.
After a lifetime of running from place to place and man to man, Summer thinks she may be ready to settle down with Aaron, a dreamy pilot everyone tells her is the ideal man and who seems ready to pop the question. But after a disaster forces everyone to pause, Aaron reconsiders his options—“I love you. But I don’t love you enough”—and Summer is left to lick her wounds, emotional and physical. Finding her way to Black Dog Bay, she immediately connects with locals in a way she hasn’t since her teen years; for the first time in her adult life, she feels ready to stay put for a while. Add in Dutch, the sexy mayor who makes her heart pound more than Aaron ever did, and Ingrid, his teenage sister, who makes her heart squeeze, and Summer may actually consider long-term plans. But her dreams for the future meet a huge obstacle when the local curmudgeon and real estate mogul takes a personal interest in her and decides to use her as a pawn in a power struggle steeped in past vendettas that puts the idyllic town at risk. Kendrick’s writing is witty and captivating, and her characters are an endearing swirl of complexity—especially Summer, with her external brashness and internal subtlety. The plot whistles along, taking a few unexpected turns that make the inevitable happy ending more textured and satisfying.
With snappy dialogue and a breezy tone that still manages to support emotional depth, the author keeps us turning pages and rooting for Black Dog Bay and everyone in it.Pub Date: May 6, 2014
ISBN: 978-0-451-46585-6
Page Count: 336
Publisher: New American Library
Review Posted Online: March 31, 2014
Kirkus Reviews Issue: April 15, 2014
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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