The team who write under the pseudonym of Cynthia Victor (Only You, 1994, etc.) now join the army of romance writers coupling love with serial murder. Commercial artist Lainey Wolfe, based in Manhattan, covets the life of best friend Farrell Cole. While Lainey toils away drawing cutesy characters like ``Matilda and Mommy'' and ``Patsy Pony,'' Farrell lives with her prosperous lawyer husband and their two swell kids in a picture-perfect home in Connecticut. What more could a girl ask for, thinks Lainey, than glowing fireplaces, a closetful of cashmere dresses, and the aroma of boeuf bourguignon cooking in the kitchen? But, in truth, Farrell is bored with suburban life and longs to recover her adventurous youth. With that in mind, she tries an afternoon as a call girl at a local hotel—a departure from the straight and narrow that leads to disaster: The Coles are found dead in their bed, apparent victims of carbon-monoxide poisoning, and Lainey, through a prearranged agreement, becomes guardian of their children. Though never one for commitments, she moves to Connecticut and begins the difficult switch from single careerwoman to single mom, with two grieving children to care for. She's not helped much by Farrell's sexy brother Penn, a successful TV producer who drinks too much and who's staying in the guesthouse. Penn and Lainey find their fights punctuated both by sexual tension and growing affection. But in romance, no one can live happily ever after while there's a killer loose on the home front. Though the reader knows from the start that the murderer is an overweight neighbor who bakes great cakes, Lainey and her lover are forced to follow an uninventive trail to piece it all out. Much more engrossing than their last outing; still, some attractive characters and believable relationships are done in by an amateur mystery filled with fortunate coincidences and tired clichÇs.
Pub Date: March 25, 1996
ISBN: 0-525-94033-2
Page Count: 320
Publisher: Dutton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 1, 1996
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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