A curious story whose protagonist strongly resembles the antiheroes of comics writer Mark Millar (Kick-Ass, 2008, etc.).

THE HEART DOES NOT GROW BACK

A Midwestern teenager learns that having a superpower isn’t all it’s cracked up to be.

It’s a testament to this novel’s unusual pull that it keeps the reader engaged despite its deeply disturbing imagery and much bloodshed. This is a fairly drastic reworking of Venturini’s 2010 indie novel The Samaritan, complete with a new ending. In the first act, we meet an awkward adolescent named Dale Sampson and his athletic best friend, Mack Tucker. They’re on the verge of graduating from the hell that is high school when Dale’s attraction to classmate Regina Carpenter earns him the wrath of her sadistic boyfriend, Clint, who ultimately slays her, three others and himself. While recovering from his wounds, Dale learns that he can regenerate his own limbs and organs. In a slow second act, we see Dale suffering from survivor’s guilt, figuring out the limits of his new abilities and indulging his savior syndrome by trying to help Regina’s twin sister, Raeanna, escape from an abusive marriage. In the third act, Mack brings Dale with him to California, where he's become a B-list reality show star. Dale pitches his so-called superpower to the networks as a reality show called “The Samaritan,” in which Dale donates his disposable organs to needy recipients. As he gives freely of kidneys, skin, bone marrow and even eyes, the world becomes increasingly fascinated with his abilities, even as Dale becomes increasingly more cynical. “Whatever is inside of me only seems to wake up when I get cut or beat on,” he tells a sympathetic doctor. “If that’s hope, hope can go fuck itself.” Make no bones about it, this is a grotesque tale punctuated by its brutal yet casual violence. However, it also offers a realistic portrayal of male friendships, a black comedy about the nature of the human body and, remarkably enough, a cathartic sort of redemption.

A curious story whose protagonist strongly resembles the antiheroes of comics writer Mark Millar (Kick-Ass, 2008, etc.).

Pub Date: Nov. 4, 2014

ISBN: 978-1-250-05221-6

Page Count: 304

Publisher: Picador

Review Posted Online: Aug. 14, 2014

Kirkus Reviews Issue: Sept. 1, 2014

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ONE DAY IN THE LIFE OF IVAN DENISOVICH

While a few weeks ago it seemed as if Praeger would have a two month lead over Dutton in their presentation of this Soviet best seller, both the "authorized" edition (Dutton's) and the "unauthorized" (Praeger's) will appear almost simultaneously. There has been considerable advance attention on what appears to be as much of a publishing cause celebre here as the original appearance of the book in Russia. Without entering into the scrimmage, or dismissing it as a plague on both your houses, we will limit ourselves to a few facts. Royalties from the "unauthorized" edition will go to the International Rescue Committee; Dutton with their contracted edition is adhering to copyright conventions. The Praeger edition has two translators and one of them is the translator of Doctor Zhivago Dutton's translator, Ralph Parker, has been stigmatized by Praeger as "an apologist for the Soviet regime". To the untutored eye, the Dutton translation seems a little more literary, the Praeger perhaps closer to the rather primitive style of the original. The book itself is an account of one day in the three thousand six hundred and fifty three days of the sentence to be served by a carpenter, Ivan Denisovich Shukhov. (Solzhenitsyn was a political prisoner.) From the unrelenting cold without, to the conditions within, from the bathhouse to the latrine to the cells where survival for more than two weeks is impossible, this records the hopeless facts of existence as faced by thousands who went on "living like this, with your eyes on the ground". The Dutton edition has an excellent introduction providing an orientation on the political background to its appearance in Russia by Marvin Kalb. All involved in its publication (translators, introducers, etc.) claim for it great "artistic" values which we cannot share, although there is no question of its importance as a political and human document and as significant and tangible evidence of the de-Stalinization program.

Pub Date: June 15, 1963

ISBN: 0451228146

Page Count: 181

Publisher: Praeger

Review Posted Online: Oct. 5, 2011

Kirkus Reviews Issue: June 15, 1963

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

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A LITTLE LIFE

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. 22, 2014

Kirkus Reviews Issue: Jan. 1, 2015

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