Not Sullivan’s best.
In a disappointingly maudlin story, three women shaped by past sadness confront the possibilities of hope over three momentous days.
Sullivan revisits the small town of Harvester, Minnesota (The Empress of One, 1996, etc.), where memories are long and everybody knows your business. The time is summer, the year 1952, and the day Wednesday—the tenth anniversary of the fatal car crash of Archer and Celia Canby. The couple left a small daughter Bess, now 17; and she, her great-aunt Kate, and her middle-aged cousin Harriet are the three narrators. Kate, afflicted by painful arthritis, can't forgive Archer, a drunk and abusive man, for causing Celia's death. And lately, too, she can’t stop remembering the happy times she spent when she and her own late husband Martin still owned the farm outside Harvester, before they had to sell it back during the Depression. Bess, on the other hand, soon to go off to college, is full of life and eager to fall in love, which she does that same Wednesday night when she goes dancing with friend Donna and meets married Korean War vet Doyle Hanlon. Cousin Harriet is also out dancing the same night, hoping that widower farmer DeVore will finally propose to her and allow her to live the life she has dreamed of since moving away from her cold and critical parents. As Harriet's wishes come true, Kate, who has caught a glimpse of Bess riding in a strange car, worries that the girl may be harmed, as her mother was, by falling for the wrong kind of man. Bess, convinced that she's in love with Doyle, is soon ready to give up college and become his mistress, even if it might cause a scandal and deeply wound Kate and Harriet. All too neatly, however, a broken-down car and sudden death resolve matters for all three of these women, who, however well drawn, remain stuck in a pulp-fiction world.
Not Sullivan’s best.Pub Date: July 1, 2000
ISBN: 0-375-50390-0
Page Count: 256
Publisher: Random House
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 1, 2000
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
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
