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MENACHEM'S SEED

The third and best volume in the author's ``science-in- fiction'' tetralogy (Cantor's Dilemma, 1989; The Bourbaki Gambit, 1994). Djerassi (Chemistry/Stanford) takes an upbeat view of the kinds of international scientific conferences so scathingly described by Arthur Koestler in The Party Girls. Here, Melanie Laidlaw, 35, a childless American widow, directs fund-giving by a foundation for reproductive biology. At a conference in Kirschberg, Austria, she falls in love with a 50-year-old Israeli nuclear engineer and policy wog by the name of Menachem Dvir. Dvir's wife, it happens, was paralyzed in an auto accident 20 years ago while he was driving. He's also infertile as a result of overexposure to radiation. Melanie, meanwhile, is tapped by a group that's pioneering in vitro fertilization and needs funds from her foundation. She has already had a second tryst with Dvir at a new conference, and it's there that the idea occurs to her of stealing her lover's sperm, having the needy in vitro group fertilize one of her eggs, and bearing his child without his knowledge. This leads Djerassi into a full-dress review of the early years of in vitro fertilization, while a review of Dvir's undercover ties with a PLO policy market is covered so thoroughly that one feels well informed about Middle East politics. Also, the nonreligious Melanie decides to have her son born to a Jewish mother and so undertakes confirmation as a Reform Jew, which Djerassi details in great depth. Will Menachem accept his son (or seed)? Djerassi fudges the obligatory Tolstoyan face-off between Melanie and Menachem, but leaves the reader satisfied despite this shortfall. A great novel? No. But absolutely strong and real. Bravo, professor.

Pub Date: Sept. 1, 1997

ISBN: 0-8203-1925-2

Page Count: 216

Publisher: Univ. of Georgia

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 1, 1997

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A LITTLE LIFE

The phrase “tour de force” could have been invented for this audacious novel.

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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

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THE RUMOR

Once again, Hilderbrand displays her gift for making us care most about her least likable characters.

Hilderbrand’s latest cautionary tale exposes the toxic—and hilarious—impact of gossip on even the most sophisticated of islands.

Eddie and Grace Pancik are known for their beautiful Nantucket home and grounds, financed with the profits from Eddie’s thriving real estate company (thriving before the crash of 2008, that is). Grace raises pedigreed hens and, with the help of hunky landscape architect Benton Coe, has achieved a lush paradise of fowl-friendly foliage. The Panciks’ teenage girls, Allegra and Hope, suffer invidious comparisons of their looks and sex appeal, although they're identical twins. The Panciks’ friends the Llewellyns (Madeline, a blocked novelist, and her airline-pilot husband, Trevor) invested $50,000, the lion’s share of Madeline’s last advance, in Eddie’s latest development. But Madeline, hard-pressed to come up with catalog copy, much less a new novel, is living in increasingly straightened circumstances, at least by Nantucket standards: she can only afford $2,000 per month on the apartment she rents in desperate hope that “a room of her own” will prime the creative pump. Construction on Eddie’s spec houses has stalled, thanks to the aforementioned crash. Grace, who has been nursing a crush on Benton for some time, gives in and a torrid affair ensues, which she ill-advisedly confides to Madeline after too many glasses of Screaming Eagle. With her agent and publisher dropping dire hints about clawing back her advance and Eddie “temporarily” unable to return the 50K, what’s a writer to do but to appropriate Grace’s adultery as fictional fodder? When Eddie is seen entering her apartment (to ask why she rented from a rival realtor), rumors spread about him and Madeline, and after the rival realtor sneaks a look at Madeline’s rough draft (which New York is hotly anticipating as “the Playboy Channel meets HGTV”), the island threatens to implode with prurient snark. No one is spared, not even Hilderbrand herself, “that other Nantucket novelist,” nor this magazine, “the notoriously cranky Kirkus.”

Once again, Hilderbrand displays her gift for making us care most about her least likable characters.

Pub Date: June 16, 2015

ISBN: 978-0-316-33452-5

Page Count: 384

Publisher: Little, Brown

Review Posted Online: May 20, 2015

Kirkus Reviews Issue: June 1, 2015

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