Another fragmented, sophisticated, terribly solemn novel by Akins (Home Movie; Little Woman)—this one starring Ann Matter, a shell-shocked media consultant whose fatal flaw is her fervent belief in her own media creation. Ann was once a sweet, pretty college student with a passion for film, but she lost her innocent enthusiasm once she became pregnant and agreed under pressure from her lover, David, to have the child. After the birth, Ann hands the baby over to David and flees them both in a desperate, misguided attempt to regain her purity. Undergoing surgery to perfect her appearance, she embarks on a cool, meticulous, comforting advertising career in which the appearance of objects, and the layers of associations she can evoke from their images, count for more than the objects themselves. It's a small step from this to taking a job as media representative for old-fashioned, fuddy-duddy Democratic Texas Governor Henry Anderson during his bid for the White House. Inspired by Anderson's real basic virtue, Ann eagerly grabs onto his best human qualities, exaggerating and enhancing them into a larger-than-life, mass- market image. Her efforts are so successful that by the time Anderson takes Pennsylvania Avenue his image has superseded his political positions, and he and his creator have fallen into a lockstep so in sync that it's difficult to tell which one of them is running the country. The union also proves too threatening for a jealous press secretary and Anderson's rebellious son, who soon conspire to sully Ann's and Anderson's reputations in the press. Despite Ann's struggles, her creation begins to wobble, and her tidy world is sent reeling as both David, reading in the papers of her struggles, and Anderson, panicked at the thought of becoming merely mortal again, take abrupt, violent action.... The power and independent life of the media image are, as always, an intriguing theme—but Akins's pointillistic, humorless style merely skitters across its surface.
Pub Date: May 7, 1993
ISBN: 0-06-016753-X
Page Count: 288
Publisher: HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 1993
BOOK REVIEW
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
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
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