by Eudora Welty ‧ RELEASE DATE: April 28, 1978
The Eye of the Story is a challenging title. Miss Welty is concerned throughout this book with fiction, with fictions, and with how the process of writing turns truth into a novel or story. Analysis travels backwards, she says, but the writer works into the open. She makes the engaging assumption that her readers are as interested and knowledgeable about these problems as she is herself, and that they too will be glad when a story works, when an author succeeds. "Jane Austen loved high spirits, she had them herself, and she always rejoiced in the young." Of Ross Macdonald's The Underground Man: "what gives me special satisfaction about it is that no one but a good writer — this good writer — could possibly have brought it off." Other enthusiasms are Faulkner, Elizabeth Bowen, Isak Dinesen, and, from many years back, S.J. Perelman. Miss Welty can be tart, as when she judges Arthur Mizener's book on Ford Maddox Ford inadequate—because Ford deserved a better book. The last, purely personel section includes her introduction to a cookbook of Jackson recipes and the preface to a collection of her own Mississippi photographs, One Time, One Place, as well as several vignettes of local scenes. In "Some Notes on River Country," we see "the little chain of lost towns between Vicksburg and Natchez" where "the houses merge into a shaggy fringe at the foot of the bluff." In the childhood memoir "The Little Store" she tells us: "I believed the Little Store to be a center of the outside world, and hence of happiness—as I believed what I found in the Crackerjack box to be a genuine prize, which was as simply as I believed in the Golden Fleece." These pieces clarify Eudora Welty's presence: in life, as in her writings, she is self-possessed but never self-absorbed.
Pub Date: April 28, 1978
ISBN: 0679730044
Page Count: 372
Publisher: Random House
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: April 1, 1978
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by Hanya Yanagihara ‧ RELEASE DATE: March 10, 2015
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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by J.D. Salinger ‧ RELEASE DATE: June 15, 1951
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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