THE MARRIED MAN

White leaves the first-person, autobiographical world of his trilogy (The Farewell Symphony, 1997, etc.) and portrays a romance—and its dissolution—across three continents and six countries with his characteristic wisdom and sexual frankness, darkened by a new sense of foreboding.

Fifty-ish, HIV-positive, and recently heartbroken Austin Smith is an American scholar living in Paris, where he writes primarily about furniture. In his gym, he meets Julien, a married French architect some 20 years his junior. With effortless narrative velocity, a romance ensues, and so does the novel’s travelogue, first with short excursions around the Paris area, then outward to detailed passages in Nice, Venice, Rome, Vermont, Montreal, Disney World, Key West, the Yucatan peninsula, and finally Morocco. In the early Paris sections, Austin’s relationship with Julien develops against a background of elegant salons, privileged expatriates, and an assimilated gay subculture, with White sharply and drolly observing social manners—as well as the ethical issue of when to tell a lover about a dread disease. Midway through the story, Austin accepts a teaching position at a university in Providence, Rhode Island; Julien divorces, leaves his firm, and follows. In something of a reversal, the Providence sections introduce complications the initial set-up didn’t anticipate: Austin discovers the malignant, politically correct demagoguery of academia—but it’s Julien who develops the much more serious problem of full-blown AIDS. Austin compromises principles, grows if not robust than rotund, while the once apparently healthy Julien goes into a sad and rapid decline. At heart here are issues of loyalty and the suspension of the erotic in the face of a terminal disease. The music of tragedy swells to operatic proportions in Morocco, where Julien’s lingering death invokes elements of the divine, the clinical, and the macabre. Here, the graphic sex of White’s earlier work is replaced with graphic medicalia, and its thematic urgency by a poignant, bone-weary resignation to the now sadly predictable injustices of life and death in the gay community.

A wise, sorrowful tale.

Pub Date: June 1, 2000

ISBN: 0-375-40005-2

Page Count: 336

Publisher: Knopf

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: May 1, 2000

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Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the...

FLY AWAY

Hannah’s sequel to Firefly Lane (2008) demonstrates that those who ignore family history are often condemned to repeat it.

When we last left Kate and Tully, the best friends portrayed in Firefly Lane, the friendship was on rocky ground. Now Kate has died of cancer, and Tully, whose once-stellar TV talk show career is in free fall, is wracked with guilt over her failure to be there for Kate until her very last days. Kate’s death has cemented the distrust between her husband, Johnny, and daughter Marah, who expresses her grief by cutting herself and dropping out of college to hang out with goth poet Paxton. Told mostly in flashbacks by Tully, Johnny, Marah and Tully’s long-estranged mother, Dorothy, aka Cloud, the story piles up disasters like the derailment of a high-speed train. Increasingly addicted to prescription sedatives and alcohol, Tully crashes her car and now hovers near death, attended by Kate’s spirit, as the other characters gather to see what their shortsightedness has wrought. We learn that Tully had tried to parent Marah after her father no longer could. Her hard-drinking decline was triggered by Johnny’s anger at her for keeping Marah and Paxton’s liaison secret. Johnny realizes that he only exacerbated Marah’s depression by uprooting the family from their Seattle home. Unexpectedly, Cloud, who rebuffed Tully’s every attempt to reconcile, also appears at her daughter’s bedside. Sixty-nine years old and finally sober, Cloud details for the first time the abusive childhood, complete with commitments to mental hospitals and electroshock treatments, that led to her life as a junkie lowlife and punching bag for trailer-trash men. Although powerful, Cloud’s largely peripheral story deflects focus away from the main conflict, as if Hannah was loath to tackle the intractable thicket in which she mired her main characters.

Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the pages turning even as readers begin to resent being drawn into this masochistic morass.

Pub Date: April 23, 2013

ISBN: 978-0-312-57721-6

Page Count: 416

Publisher: St. Martin's

Review Posted Online: Feb. 18, 2013

Kirkus Reviews Issue: March 1, 2013

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THE COLDEST WINTER EVER

Debut novel by hip-hop rap artist Sister Souljah, whose No Disrespect (1994), which mixes sexual history with political diatribe, is popular in schools country-wide. In its way, this is a tour de force of black English and underworld slang, as finely tuned to its heroine’s voice as Alice Walker’s The Color Purple. The subject matter, though, has a certain flashiness, like a black Godfather family saga, and the heroine’s eventual fall develops only glancingly from her character. Born to a 14-year-old mother during one of New York’s worst snowstorms, Winter Santiaga is the teenaged daughter of Ricky Santiaga, Brooklyn’s top drug dealer, who lives like an Arab prince and treats his wife and four daughters like a queen and her princesses. Winter lost her virginity at 12 and now focuses unwaveringly on varieties of adolescent self-indulgence: sex and sugar-daddies, clothes, and getting her own way. She uses school only as a stepping-stone for getting out of the house—after all, nobody’s paying her to go there. But if there’s no money in it, why go? Meanwhile, Daddy decides it’s time to move out of Brooklyn to truly fancy digs on Long Island, though this places him in the discomfiting position of not being absolutely hands-on with his dealers; and sure enough the rise of some young Turks leads to his arrest. Then he does something really stupid: he murders his wife’s two weak brothers in jail with him on Riker’s Island and gets two consecutive life sentences. Winter’s then on her own, especially with Bullet, who may have replaced her dad as top hood, though when she selfishly fails to help her pregnant buddy Simone, there’s worse—much worse—to come. Thinness aside: riveting stuff, with language so frank it curls your hair. (Author tour)

Pub Date: April 1, 1999

ISBN: 0-671-02578-3

Page Count: 320

Publisher: Pocket

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Feb. 1, 1999

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