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TRUE AT FIRST LIGHT

A FICTIONAL MEMOIR

Ernest Hemingway never kept a journal, says his son Patrick, editor of this book from a manuscript twice its size describing life in a Kenyan safari camp in the winter of 1953—54. It can of course be called fiction, however much it seems like a journal. An autobiography, say. Little —happens.— The threat of an uprising of local Africans soon dissipates. Christmas is coming (—the Birthday of the Baby Jesus—) and wife Mary chooses a tree that —would make an elephant drunk for two days if he ever ate it.— Daily hunting has taken place for six months in hopes of fulfilling Mary’s strong wish to kill a lion, a desire both she and Hemingway say they —understand,— though the reader may not. Patrick hints that it has to do with Mary’s feelings about Debba, a beautiful and charming African girl whom Hemingway would like (quite seriously) to take as a second wife if law only permitted. The lion is killed, but Mary is unsatisfied, believing that Hemingway shot first (he didn—t). In time, after Mary takes a trip to Nairobi, all is well again and the two embarrass the reader anew with their love-endearments (—we—ll both sleep like good kittens—). The true book, though, is less in its events than in the unmonitored voice of its author. Hemingway, talking, offers a compendium of his familiar old symbols, themes, moods, feelings, details. But the voice is also like hearing the author from somewhere beyond the grave, speaking from within his own absence. —You don—t ever have despair do you Ernie?— asks a friend. The answer, sad in a way it could never have been when written: —I—ve seen it close enough to touch it but I always turned it down.— Uneven, imperfect, irritating, amusing, moving, and of treasurable importance to an understanding of this massive however flawed genius of our literature.

Pub Date: July 6, 1999

ISBN: 0-684-84921-6

Page Count: 320

Publisher: Scribner

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: April 1, 1999

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A LITTLE LIFE

The phrase “tour de force” could have been invented for this audacious novel.

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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

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THE CATCHER IN THE RYE

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

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