The big sweet hell of a sleepover in bloody hospital rubbish, with pieces of bone, lumps of brain, and white panties.
Admirers of last year’s Nineteen Seventy-Four (the first in the Red Riding Quartet), awash in cut up bodies, castration, girls scalped, strangled, stuff like that may sit back and fix themselves a rich second helping of the same bloody pudding, now even worse, if the tum-tum’s game.
The Yorkshire Ripper’s loose in Chapeltown, colorful bloke likes to really damage prostitutes, bash in their skulls, cut their throats, hollow out their breasts and stomachs with a screwdriver. Third body the constables know about is that of Mrs. Marie Watts, a prosty, and with the Jubilee upon us, we can expect enough bodies for two Rippers—and there may be two. So the whole Chapeltown force becomes the prostitute murder squad, sent out to interview all the local prosties for johns who like a bit of strange—say, biting, or up the arse without a condom or a by your leave, spooky stuff, give us names and addresses, ladies. Peace lays on such heavy lashings of British police argot that few US readers will grasp every turn of phrase or obscene coinage. We hop about with copper Bob Fraser, sometimes in the first-person, and Yorkshire Post correspondent Jack Whitehead, also sometimes in the first-person. All told, six women are murdered, four assaulted—including Bob Fraser’s girlfriend, Janice Ryan, who is pregnant with his child and for whom he pimps, and Jack Whitehead’s prosty, Ka Su Peng (assaulted only). Meanwhile, peppered over every chapter, are true-crime slayings and grisly bloodlettings from 1977’s newspapers until Nineteen Seventy-Seven is a Boschian landscape of corpses chest-deep in gore, no longer the mere tea-party of previous installment. Not an easy novel to follow, and many will have to read the end twice to make sense of the frantic battery and horror Peace lets fly, with one Ripper at least getting a taste of his own screwdriver.
The big sweet hell of a sleepover in bloody hospital rubbish, with pieces of bone, lumps of brain, and white panties.Pub Date: Aug. 1, 2001
ISBN: 1-85242-639-X
Page Count: 332
Publisher: Serpent’s Tail
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 2001
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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