An icy, disturbing and masterfully composed study of guilt, loss and regret—quite possibly the author’s finest yet.

POINT OMEGA

Moving a step beyond the disturbing symbolism of Falling Man (2007, etc.), DeLillo ruminates teasingly on a tendency toward obliteration perhaps locked into the DNA of all living things.

His crisp, precisely understated, hauntingly elliptical narrative frames a haltingly revealed story of moral compromise between two viewings of a piece of conceptual art, fashioned from the classic Hitchcock film Psycho, displayed at a small museum in the southwestern United States. The man who watches it, enthralled, is documentary filmmaker Jim Finley, who has traveled west to interview his potential film subject: former academic Richard Elster, now retired from his employment as an advisor during the Iraq War, living in a half-finished house in the California desert. The bulk of this very short book, which in some ways resembles Albert Camus’ scorching novella The Fall, describes Finley’s stay with the taciturn Elster, who is only too aware he was exploited to give credence to questionable military strategic decisions. Painstakingly elicited responses to Finley’s earnest questions eventually disclose Elster’s conviction that, deny it as we may, humankind compulsively bends toward “the omega point” at which life declines to continue existing and embraces the comfort of nonbeing: “We want to be stones in a field.” This affirmation of entropy assumes agonizing human form when Elster’s frail, detached and distracted adult daughter Jessie arrives for a visit that cannot and does not resolve any of her own “failures” and disappointments. The sparse narrative climaxes with yet another retreat from engagement with reality and concludes with Elster, once again a watcher rather than a doer, transformed in a manner that crystallizes DeLillo’s brilliant deployments of two series of images: those in the Hitchcock film, and the borrowed motif of stairs climbed and descended at one’s peril.

An icy, disturbing and masterfully composed study of guilt, loss and regret—quite possibly the author’s finest yet.

Pub Date: Feb. 2, 2010

ISBN: 978-1-4391-6995-7

Page Count: 128

Publisher: Scribner

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Dec. 15, 2009

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ONE DAY IN THE LIFE OF IVAN DENISOVICH

While a few weeks ago it seemed as if Praeger would have a two month lead over Dutton in their presentation of this Soviet best seller, both the "authorized" edition (Dutton's) and the "unauthorized" (Praeger's) will appear almost simultaneously. There has been considerable advance attention on what appears to be as much of a publishing cause celebre here as the original appearance of the book in Russia. Without entering into the scrimmage, or dismissing it as a plague on both your houses, we will limit ourselves to a few facts. Royalties from the "unauthorized" edition will go to the International Rescue Committee; Dutton with their contracted edition is adhering to copyright conventions. The Praeger edition has two translators and one of them is the translator of Doctor Zhivago Dutton's translator, Ralph Parker, has been stigmatized by Praeger as "an apologist for the Soviet regime". To the untutored eye, the Dutton translation seems a little more literary, the Praeger perhaps closer to the rather primitive style of the original. The book itself is an account of one day in the three thousand six hundred and fifty three days of the sentence to be served by a carpenter, Ivan Denisovich Shukhov. (Solzhenitsyn was a political prisoner.) From the unrelenting cold without, to the conditions within, from the bathhouse to the latrine to the cells where survival for more than two weeks is impossible, this records the hopeless facts of existence as faced by thousands who went on "living like this, with your eyes on the ground". The Dutton edition has an excellent introduction providing an orientation on the political background to its appearance in Russia by Marvin Kalb. All involved in its publication (translators, introducers, etc.) claim for it great "artistic" values which we cannot share, although there is no question of its importance as a political and human document and as significant and tangible evidence of the de-Stalinization program.

Pub Date: June 15, 1963

ISBN: 0451228146

Page Count: 181

Publisher: Praeger

Review Posted Online: Oct. 5, 2011

Kirkus Reviews Issue: June 15, 1963

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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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