CALLE 10

Romero's first novel is a confused and finally monotonous compilation of drugged-out scenes in a Bay Area Chicano neighborhood. Zero is a 30-year-old Chicano who has completed eight drunken years of college and now works at a printshop—filing, answering phones, smoking pot, watching his boss masturbate. In college, ``The more he learned about society, the less, it seemed, he wanted anything to do with it''—and so Zero retreats to a squalid flophouse in Ciudad JimÇnez, a no man's land on the edge of Oakland. He finds it hard to believe that he has sunk so low, even though many—and distracting—flashbacks portray his youth as having been a long string of drinking and doing drugs. Now at the flophouse, run by a fellow printshop employee, he does more of the same, popping pills and doing heroin with other junkies boarding there. One night he seeks refuge at his girlfriend's apartment, but she's gotten tired of his ways and hands him his belongings; then a few weeks later, with no reconciliation, he's back again, and this time she dresses in her fishnet body stocking and pleasures him immeasurably. Zero's baseless good fortune continues, and when he wins a few thousand dollars playing the lottery, he decides to make a new start of life by moving away. But before he goes, he trips out on Codeine again, and, again, his girlfriend leaves him. The novel's rudderless construction becomes circular, and repetition finally crushes the story. Romero's dialogue is honest at times, but much more often it fails as miserably as Zero himself, degenerating to vapid filler: ``How you doing man, all right? Man, listen to me, man. Listen to me man. Listen here man. Listen here.'' Episodes pile up without logic in a novel that, however authentic its intentions may have been, becomes an incoherent and tired ramble.

Pub Date: Sept. 1, 1996

ISBN: 1-56279-090-0

Page Count: 168

Publisher: N/A

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 15, 1996

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There are unforgettable beauties in this very sexy story.

TELL ME LIES

Passion, friendship, heartbreak, and forgiveness ring true in Lovering's debut, the tale of a young woman's obsession with a man who's "good at being charming."

Long Island native Lucy Albright, starts her freshman year at Baird College in Southern California, intending to study English and journalism and become a travel writer. Stephen DeMarco, an upperclassman, is a political science major who plans to become a lawyer. Soon after they meet, Lucy tells Stephen an intensely personal story about the Unforgivable Thing, a betrayal that turned Lucy against her mother. Stephen pretends to listen to Lucy's painful disclosure, but all his thoughts are about her exposed black bra strap and her nipples pressing against her thin cotton T-shirt. It doesn't take Lucy long to realize Stephen's a "manipulative jerk" and she is "beyond pathetic" in her desire for him, but their lives are now intertwined. Their story takes seven years to unfold, but it's a fast-paced ride through hookups, breakups, and infidelities fueled by alcohol and cocaine and with oodles of sizzling sexual tension. "Lucy was an itch, a song stuck in your head or a movie you need to rewatch or a food you suddenly crave," Stephen says in one of his point-of-view chapters, which alternate with Lucy's. The ending is perfect, as Lucy figures out the dark secret Stephen has kept hidden and learns the difference between lustful addiction and mature love.

There are unforgettable beauties in this very sexy story.

Pub Date: June 12, 2018

ISBN: 978-1-5011-6964-9

Page Count: 352

Publisher: Atria

Review Posted Online: March 20, 2018

Kirkus Reviews Issue: April 1, 2018

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

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A LITTLE LIFE

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. 22, 2014

Kirkus Reviews Issue: Jan. 1, 2015

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