Cleanly written debut that begins modestly enough, with a simplicity worthy of a YA audience, but loses its way once Jackson's preacherly instincts take over and his characters become object lessons in righteous behavior. As some sort of homage, Jackson sets his novel in the small Mississippi town of Eudora in Welty country, but it's more like the town of Alice, as in Walker. Lest he be charged with a vision of relentless black violence toward women, Jackson has his main character repent his ways and includes a shrew of witchlike proportions. The story is plain enough: Covering the nine months before the narrator's birth, the tale flashes back to her mother's courtship and marriage to one Joseph Henry Thomas, a hard-working illiterate who considers his wife and four children his property and rules the roost with an iron hand—and with a toughness penetrated only by his older sister, Clariece, a mean and pretentious old cow married to a preacher. Clariece certainly lords over Joseph's wife, Anna, the sweet and understanding center of this family saga. Without consulting her, Joseph promises his sixth child, the narrator, to his childless sister, an act that begins the rough times. For, in short order, Joseph loses his job, Anna's best friend dies, and Joseph takes up with the bottle. But the memory of Ida Mae, her wild and sassy friend, helps Anna through the crisis; in letters addressed to Ida Mae interspersed throughout the novel, Anna builds the courage to confront her cruel husband and his brutal sister. In Anna's moment of strength, Jackson provides the chest-thumping moral: ``. . . women are the bearers of life, [and] we also provide the strength that makes life worth living.'' The down-home parable-making here is undermined by all the pop psych, making this, sadly, a perfect contender for the latest in black schmaltz. (Author tour)
Pub Date: Feb. 1, 1997
ISBN: 0-671-56895-7
Page Count: 229
Publisher: Pocket
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 1996
BOOK REVIEW
BOOK REVIEW
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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