Serenely silly and insubstantial. Pablum, packaged for quick sale as soul food. Don’t bite.
An unmarried flight attendant’s frantic search for the perfect man takes center stage, in this frothy debut from playwright Talbert (Love Makes Things Happen; Mr. Right Now!, etc.).
Protagonist Montana Moore is 35, ridiculously gorgeous, smart and sassy, and an object of pity and scorn to her much-married mother and much more romantically successful sisters. Montana’s tendency to rank available men as if they’re pieces of luggage blinds her to the need to shed her own “baggage” and start looking for love in the likeliest places. Or such is the consensus of advice she gets from best pal-confidant William and in-flight colleagues, Rabelaisian Gail and flamboyantly effeminate Sam. Determined to display a fiancé at her youngest sister’s upcoming engagement party, Montana considers as possible husbands: prosperous realtor (and Billy Dee Williams look-alike) Graham; jive-talking record producer Damon; hellfire-and-damnation preacher Curtis; politically ambitious attorney Langston, and superrich, middle-aged Quinton. None of them will do, and Montana’s patience is eventually rewarded with her realization that love was right there under her nose, all along. Baggage Claim staggers under the excess weight of clichés, lame jokes (“She’s had enough rice thrown at her to feed the entire continent of Asia”), forced heartiness and camaraderie (almost everybody calls everybody else a “ho,” regardless of gender), and redundant characters and scenes. Reverend Curtis does contribute a briefly funny sermon on the topic of lust, and there’s a nice snotty reference to “an E. Lynn Harris book, full of a bunch of bi-sexuals, try-sexuals, and why-sexuals.” But that’s as entertaining as it ever gets. Talbert makes the aforementioned Harris look like Stendhal, and Terry McMillan a virtual Doris Lessing.
Serenely silly and insubstantial. Pablum, packaged for quick sale as soul food. Don’t bite.Pub Date: Oct. 1, 2003
ISBN: 0-7432-4718-3
Page Count: 256
Publisher: Simon & Schuster
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 2003
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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