Benedict's uneven third novel (Slow Dancing, 1985; The Beginner's Book of Dreams, 1988) is about letting go emotionally and two very different women—one who can, and one who finds it all but impossible. Narrator Kate Lurie, product of an unhappy marriage and scarred further by her experiences with men, is already ``bitter as bark'' by the time she's 30. A documentary filmmaker, she finds it easier to record than participate; the camera is her defense, ``[her] safe conduct through war zones.'' Small wonder, then, that when Kate meets Mac, during a shoot in 1980 at the Vietnam Memorial, and he turns out to be a wonderful lover, she doesn't think it'll last. But it does, and a year later they're married in New York. Mac is an older guy (late 50s) who works for the State Department—an optimist (despite a failed first marriage and the devastating loss of son Sam in a traffic accident), sentimental, and scrupulously honest. He's told Kate every detail of his affair with Lida, a passionate young Russian, while he was on a hush-hush assignment in 1974 in Leningrad. Now, 17 years later, Mac and Kate are on a stopover in Brussels when Lida reappears, a Westerner married to a Frenchman, and an old flame burning bright as ever. Her reunion with Mac gives Kate the worst moments of her life, fearing for her marriage while envying the other woman her heart, her soul, her headlong abandon. Benedict crosscuts between 1974 Leningrad and 1991 Brussels. Leningrad, with Lida the star of the show, makes for fine, confident storytelling; but in order to inject suspense into the Brussels scenes, Benedict naughtily misdirects the reader. Add to this the undercharacterized Mac and the glibness of Kate's premature bitterness, and you're left with half a loaf.
Pub Date: May 1, 1993
ISBN: 0-374-25341-2
Page Count: 196
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 1, 1993
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 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
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