Lentricchia proclaims his aesthetic autonomy in a work that crosses genres with alacrity. As fiction, it’s bold and...
A hybrid of literary comment and fictional creation, this latest from critic, memoirist, and novelist Lentricchia (Johnny Critelli and The Knifemen, 1996) perfectly captures the voice of the critic agonistes: the once-detached scholar no longer hiding, or hiding behind, his judgments and values.
In this case, the critical focus is Melville, whose “story-disdaining” masterpiece obsesses Lentricchia’s alter ego, Thomas Lucchesi, a somewhat mad novelist whose only published work in 43 years is a 5-page piece in an obscure journal. A “scrooge of art,” Lucchesi hoards his words and tries to recapture the past through language itself. He fantasizes life before he was born; lingers over an unrequited love from his teens; and imagines a scenario in which he substitutes for Pavarotti on stage in Milan. He meets his hidden muse, a gangster with the same last name, whose bodyguard is Frank, the Whale. As a teacher, Lucchesi lectures on The Whale (the English title of Moby Dick). Eventually, his total immersion in “Melville’s troubles” leads to troubles of his own, and he becomes “terminally sick” of himself. And no wonder. This “commercially untouchable” writer, like his hero Melville, barely functions in the world. His classroom behavior (he’s given to screaming, apropos of Melville: “I AM AFRAID OF THIS COCKSUCKER!”) gets him fired. At length, however, he returns to play a significant role in the course of American Wittgenstein studies when he uncovers the autobiographical truth others scholars have ignored. The end of philosophy is then enacted on a transatlantic flight with a sexy attendant: Lucchesi redeemed.
Lentricchia proclaims his aesthetic autonomy in a work that crosses genres with alacrity. As fiction, it’s bold and challenging; as criticism, it belongs right next to the unconventional Melville commentary of Charles Olsen and Paul Metcalf. In short—and it is short—this demanding book rewards those willing to take a chance.Pub Date: Feb. 1, 2001
ISBN: 0-8223-2654-X
Page Count: 130
Publisher: Duke Univ.
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 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
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