Neither Robert’s decisions nor Marlow’s make a lot of sense, but lush prose and abundant drama will render logic beside the...
Kostova follows up her blockbuster debut about the undead (The Historian, 2005) with a romance about a contemporary painter’s obsession with an undiscovered 19th-century Impressionist.
After he attempts to slash the painting Leda at the National Gallery in Washington, D.C., respected artist Robert Oliver is committed to a mental hospital under the care of psychiatrist Andrew Marlow (think Heart of Darkness). A painter himself, Marlow is fascinated by his patient, who refuses to speak and paints the same dark-haired woman over and over. “When I asked him whether he was sketching from imagination or drawing a real person,” Marlow remembers, “he ignored me more pointedly than ever.” Then Robert lends Marlow a package of letters written in the late 1870s by aspiring painter Béatrice de Clerval Vignot to her husband’s uncle Olivier Vignot, an established artist at the Paris Salon. Knowing he is stretching professional boundaries, Marlow goes to North Carolina to visit Robert’s charming, pragmatic ex-wife and tracks down the spirited painter Mary Bertison, with whom Robert later lived in D.C. Both women loved the artist and felt they lost him to the woman in the painting. Marlow himself falls increasingly under Béatrice’s spell as he reads letters tracing her growing feelings for Uncle Olivier. The psychiatrist, a 52-year-old bachelor, is also drawn to Mary despite the questionable professional ethics of dating a patient’s ex-girlfriend. With Robert tucked away painting his Béatrice in silence, Marlow travels to Mexico with Mary, then alone to Paris to trace the life of the real Béatrice and track down her secret paintings of swans; short chapters set in 1879 reveal what happened to her and her work. Kostova’s theme is creative obsession and what everyday boundaries can be broken in its name; the novel seems to favor the most romantic answer.
Neither Robert’s decisions nor Marlow’s make a lot of sense, but lush prose and abundant drama will render logic beside the point for most readers.Pub Date: Jan. 12, 2010
ISBN: 978-0-316-06578-8
Page Count: 576
Publisher: Little, Brown
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 15, 2009
BOOK REVIEW
BOOK REVIEW
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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