The Main Event of Portnoy’s Complaint, without the wit.
The self-absorbed narrator continually looks for (and finds) sex but is terrified, if not emasculated, by the prospect of love.
The plot is, to be charitable, episodic, as the unnamed narrator drifts from coffee shop to bar to restaurant to UCLA frat party. He gets engaged but gets out of there fast when he finds he’s being manipulated. He finds another girlfriend and eventually (kind of) decides to get married. Although he vaguely alludes to having a job, he has no visible means of support. Still, he goes through the motions of having a life: He talks to his mother on the phone, rides on an airplane, plays Mutant Storm Reloaded, Contra and Halo 2, downloads pornography, goes to a gay party, attends a graduation, insults his potential in-laws. But none of these activities—perhaps with the exception of video games and pornography—is significant. What gets him off, so to speak, is sex, in all its forms. His life is consumed with discussing, fantasizing about or engaging in sex. The narrator lives by what he calls the “ninety-eight percent rule,” a willingness to have sex with 98 percent of all women “in the age range of seventeen or so to dead,” though it’s never clear what 2 percent he excludes from his lubricious vision. He fantasizes about every woman he sees, from a girl in a bar to his girlfriend’s mother to the “subway whore”—in his eyes, all are objects and potential sex partners. And his narcissism is unbounded. In one spasm of philosophical journal reflection the narrator writes, “Remind myself that one day the sun will destroy this planet so nothing really matters.” Point taken.
The Main Event of Portnoy’s Complaint, without the wit.Pub Date: March 13, 2007
ISBN: 0-06-123167-3
Page Count: 256
Publisher: Perennial/HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2007
BOOK REVIEW
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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