In this emotionally moving, well-written, engaging novel, Moreno strikes a profound balance between the clinical logic of...
A debut novel that taps the trauma of the streets to explore one woman's personal damage and the difficulty of relationships.
Moreno begins her story with what appears to be instructional pages from an emergency medical technician training manual. This clinical approach to emergency is in stark contrast to the personal angst in Piper Gallagher’s life. She has banged around Los Angeles aimlessly looking for love, a career, some sense to her mother’s leaving and death. An experience from her youth when she tried to save a hit-and-run victim by administering CPR informs her new life as a rookie medical technician, riding the ambulances through the carnage of South Central Los Angeles. She works hard, learns the ropes, stands witness to death, deals with her eccentric family, and eventually breaks down from the constant stress of quick decisions that fail to save strangers in need. There is a love story intertwined with the action, and Piper is inspired by the difficult adjustment of her lover, Ayla, to daily life disrupted by a brain injury from her tour as a soldier in Iraq. Moreno uses the stark writing of a medical text to contrast the messy reality of relationships and personal trauma. Her characters are real: the Irish father who never let go of his wife who left years ago and deals with loneliness through set-piece jokes; the emergency medical techs at Station 710 who make gallows humor and macho sexual puns between calls. When Piper shuts down, the writing becomes a powerful expression of depression—“I can no longer watch regular television. Violent crime shows fill me with a numbing terror; commercials enrage and horrify me.” She hides from everyone but eventually emerges, “…so very tired of being afraid.”
In this emotionally moving, well-written, engaging novel, Moreno strikes a profound balance between the clinical logic of trauma and the personal irrationality of a young woman dealing with her demons.Pub Date: Sept. 9, 2014
ISBN: 9781940450261
Page Count: 280
Publisher: McSweeney’s
Review Posted Online: Aug. 27, 2014
Kirkus Reviews Issue: Sept. 15, 2014
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 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
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