THIEF OF LIGHT

A drossy embarrassment from former art dealer and recovering heroin addict Ramus, a man who reportedly lost a king's ransom (five million) when the bottom fell out of the New York art market in the 1980s, but got a fifth of it back for this debut novel. Adrian Sellars, a junkie who's leveraged his gallery into major debt, harbors an attraction to dicey get-rich-quick schemesall hallmarks of the go-go '80s art-dealer affliction. Not entirely dissolute, however, Sellars shelters a secret heart of gold and at least a strand of moral fiber, though the Japanese gangsters to whom he's been selling forgeries of French Impressionist masterpieces couldn't care less about his ethics. Matters get nasty when Sellars's forger meets a violent death at the hands of a pair of street hoods, who destroy a copy of Monet's ``Water Lilies'' before they murder the unfortunate painter and remove his ears. Sellars's Japanese connection, a remorseless evildoer named Tanaka, puts the dealer on the clock to locate a replacement Monet, which spins Sellars into a downward spiral of hustling and heroin abuse that culminates in the killing of his partner. Desperate, Sellars turns to his foxy assistant, Devon Berenson, for help, and she comes through in spades: Not only does she hide him while he goes cold turkey and then sleep with him, but she convinces him to visit a patrician art-restorer who provides a real Monet as bait for the Japanese. Ramus mates the cultural paranoia of Reservoir Dogs with the adolescent sleuthing of Hardy Boys before staging a prolonged final showdown between Sellars and the Japanese heavies that features an assassination, a double-cross, and a cameo by retired tennis star John McEnroe. A juvenile caper failing to pass itself off as a cautionary tale. (First printing of 125,000; Book-of-the-Month Club alternate selection; author tour)

Pub Date: Sept. 1, 1995

ISBN: 0-06-017664-4

Page Count: 320

Publisher: HarperCollins

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: June 1, 1995

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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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TO KILL A MOCKINGBIRD

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

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