Unsettling, endearing, and brilliant.
A dysfunctional Louisiana family spins out of control in this novel by Dasgupta (The Sea Singer, 2016, etc.).
Barn is a 7-year-old boy who wishes that he had the power of flight. At the beginning of the story, he climbs up on the roof of the family home in rural Louisiana, having glued feathers to his skin. It’s easy to understand why he wants to fly away; his father, referred to as Uncle Gerald, is a ne’er-do-well who’s wanted for all manner of criminal offences. Barn’s cousin Mutty, the novel’s first-person narrator, soon convinces Barn that he actually can’t fly. Mutty lives with his mother and Barn in a boarded-up farmhouse. He also has a fascination with Pepper, a mysterious, vociferous young woman who shows up at the farm on a regular basis. Pepper and Mutty aren’t friends, but they often have uninhibited, rough sex. After Uncle Gerald is arrested, Barn starts refusing to talk, and soon the family’s world descends into turmoil. Another character, referred to as The Dirty Man, shows up in town—a chilling figure from Pepper’s sordid past. Mutty’s estranged father, Pierre, reveals that The Dirty Man, otherwise known as Brody, bought Pepper from another man named Mallow, and he now owns “her skin and everything in between.” The Dirty Man is intent on taking her away, but she’s a fighter (and a biter). She’s also growing emotionally closer to Mutty, who will do anything to protect those close to him. This is a deeply idiosyncratic novel with a wildly unique descriptive style. The opening reads like a book for early readers: “Cow, cow, cow, went the moo, and cat, cat, cat went the meow, and dog, dog, dog, went the bark.” This approach continues throughout, although it becomes rather more adult in tone after Mutty and Pepper’s visit to a sex toy shop: “Leather, leather, leather went the thong. Zzzz, zzzz, zzzz went the vibrate.” Mutty is a desperately unreliable narrator who offers a deliciously distorted reading of events. At one point he remarks, “The man walked up to us. Pepper’s nails were deep into my skin.” This is repeated as “Pepper walked up to us. The man’s nails were deep into my skin.” And then, “My skin walked up to us, and Pepper’s nails were deep into the man’s skin.” It’s akin to experimental poetry, and readers are regularly left piecing together fragments while searching for meaning. It takes some work on the reader’s part, but it’s well worth the effort. Dasgupta is an ingenious writer with a painterly eye for detail, as when Mutty confides: “all I could do was sit and watch Barn play under the pepper sprinkled sun.” He also has an equal power to disturb—as when Mutty buys strawberry-flavored edible underwear at a store as a snack for Barn to eat. This is courageously strange writing that will intrigue and beguile the reader from the get-go, and it boasts a denouement that would make Quentin Tarantino squirm.
Unsettling, endearing, and brilliant.Pub Date: Oct. 20, 2018
ISBN: 978-1-60489-211-6
Page Count: 154
Publisher: Livingston Press
Review Posted Online: Oct. 3, 2018
Kirkus Reviews Issue: Nov. 15, 2018
Review Program: Kirkus Indie
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
Genetically engineered dinosaurs run amok in Crichton's new, vastly entertaining science thriller. From the introduction alone—a classically Crichton-clear discussion of the implications of biotechnological research—it's evident that the Harvard M.D. has bounced back from the science-fantasy silliness of Sphere (1987) for another taut reworking of the Frankenstein theme, as in The Andromeda Strain and The Terminal Man. Here, Dr. Frankenstein is aging billionaire John Hammond, whose monster is a manmade ecosystem based on a Costa Rican island. Designed as the world's ultimate theme park, the ecosystem boasts climate and flora of the Jurassic Age and—most spectacularly—15 varieties of dinosaurs, created by elaborate genetic engineering that Crichton explains in fascinating detail, rich with dino-lore and complete with graphics. Into the park, for a safety check before its opening, comes the novel's band of characters—who, though well drawn, double as symbolic types in this unsubtle morality play. Among them are hero Alan Grant, noble paleontologist; Hammond, venal and obsessed; amoral dino-designer Henry Wu; Hammond's two innocent grandchildren; and mathematician Ian Malcolm, who in long diatribes serves as Crichton's mouthpiece to lament the folly of science. Upon arrival, the visitors tour the park; meanwhile, an industrial spy steals some dino embryos by shutting down the island's power—and its security grid, allowing the beasts to run loose. The bulk of the remaining narrative consists of dinos—ferocious T. Rex's, voracious velociraptors, venom-spitting dilophosaurs—stalking, ripping, and eating the cast in fast, furious, and suspenseful set-pieces as the ecosystem spins apart. And can Grant prevent the dinos from escaping to the mainland to create unchecked havoc? Though intrusive, the moralizing rarely slows this tornado-paced tale, a slick package of info-thrills that's Crichton's most clever since Congo (1980)—and easily the most exciting dinosaur novel ever written. A sure-fire best-seller.
Pub Date: Nov. 7, 1990
ISBN: 0394588169
Page Count: 424
Publisher: Knopf
Review Posted Online: Sept. 21, 2011
Kirkus Reviews Issue: Oct. 15, 1990
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