Once readers “get it,” the narrative conceit becomes less interesting—but Hitchcock would have loved the premise.
DeLeeuw debuts with a strange tale seething with disturbing psychological overtones.
We first meet Luke through his chance encounter with Daniel on a playground near the Metropolitan Museum of Art. At first the boys seem compatible in every way. They’re both imaginative 6-year-olds, comfortable playing games in which dinosaurs come to eat them and they save themselves by shooting the creatures with water guns. At her son’s insistence, Luke’s mother, Claire, agrees to let Daniel visit them in their posh New York apartment. Just as readers begin to wonder why Daniel’s parents never seem to be around and he never seems to have his own home to go to, it becomes clear that Daniel is an imaginary friend who conveniently showed up shortly after the divorce of Luke’s parents. He’s also the narrator of the novel. Eventually Daniel winds up occupying the no-man’s land between doppelgänger and Imp of the Perverse, “persuading” Luke to do heinous things like killing the family dog. It’s clear that Claire has her own problems when she has a breakdown and threatens to cut herself with shards of glass. After Claire is hospitalized, Luke (and Daniel) go to live with Luke’s father and his “new” family, which includes a stepsister Daniel finds thrillingly desirable. As Luke grows up, he cannot shake off the dire influence of Daniel, who becomes increasingly manipulative, forbidding and malevolent. When Luke goes to college, Daniel makes sure he succumbs to the lure of Richard, a charismatic but evil upperclassman who, to put it charitably, does not have Luke’s best interests at heart and soon has him snorting coke. Ultimately, Daniel gains more and more control over Luke, finally committing murder.
Once readers “get it,” the narrative conceit becomes less interesting—but Hitchcock would have loved the premise.Pub Date: Aug. 1, 2009
ISBN: 978-1-4391-0313-5
Page Count: 320
Publisher: Simon & Schuster
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 2009
BOOK REVIEW
A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.
Pub Date: July 11, 1960
ISBN: 0060935464
Page Count: 323
Publisher: Lippincott
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: July 1, 1960
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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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