Spencer achieves what most debut writers merely attempt: He gives personal experience universal meaning and makes small-town tragedy profound. Sharp insight and sensitive prose distinguish what might have been a familiar tale of a dysfunctional family. The author gives his version additional interest by employing the perspectives of three different people: the jilted boyfriend, the abandoned son, and the girlfriend/mother who can't take it anymore. Each voice is distinct and unique; all three impress and convince. As the novel opens, it has been six months since Ellen ran out on Redmond, leaving her 16-year-old son, Nick, in his care. Gradually, as Redmond and Nick work on their farm in northeastern Pennsylvania, we learn more about the older man's stormy 12-year relationship with Ellen. They met during one of her habitual nights out at the local bar. Attracted to needy, vulnerable women, he wanted more than a one-night stand, despite discovering four-year-old Nick in her trailer-home bathtub. But Redmond often became violent and sometimes disappeared for months at a time, though he always came back. After Ellen herself finally leaves, Nick blames Redmond, and their interactions become increasingly antagonistic: The boy electrocutes Redmond while they're repairing the pasture fence; he retaliates by trapping Nick in the chicken coop. A lot happens as a prelude to the trio's ultimate confrontation. During her bus journey home Ellen realizes she must reclaim her son and confront her lover in order to take back her life (Spencer deserves applause here for capturing women so well). Redmond sorts though memories of childhood abuse and confronts his nemesis when the father he hasn't seen in years comes to town. And Nick survives the pain of loneliness and isolation by emotionally manipulating Redmond, hoping his life will change, and falling in love. Tender, skillful, and true.
Pub Date: Jan. 1, 1995
ISBN: 1-55970-266-4
Page Count: 240
Publisher: Arcade
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 15, 1994
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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