Young as he is, Reiken knows the territory of emotional commitment and confusion as well as anybody writing today. Beautiful...
The gentle empathy for the intricate muddle of family and romantic relationships that distinguished Reiken’s accomplished debut, The Odd Sea (1998), is also a dominant feature of this considerably more ambitious successor.
The story, a plaintive demonstration of the truism “that we all lose things. That loving someone means having to bear the pain of separation,” is set in northern New Jersey (Livingston) and Florida in the late 1970s and afterward, and in the minds and memories of its several major characters. Foremost is Anthony Rubin, a high-school hockey star and a hopeful romantic who believes he’ll somehow liberate sexpot Juliette Dimiglio (daughter of a “minor gangster” besieged by loan sharks) from her oafish boyfriend, and reconcile his adulterous father Michael and unstable mother Jess (who abandons her family and moves to Florida). Reiken moves skillfully among these lives, and others (including those of Anthony’s unillusioned older sister Dani[elle]; his former best friend Jay, the son of Michael’s married mistress; and Michael’s widowed father Max, in love again in his late 80s), creating multiple centers of interest that we visit again and again, in present time (during Anthony’s visit to his mother, three years after her flight south) and in lengthy action-filled flashbacks. Outcroppings of both shockingly sudden violence (a suicide, two savage beatings) and slow inexorable decline (the anorexic resignation of a roommate with whom Anthony bonds when he’s hospitalized for knee surgery, the increasing distance Jess keeps from even those she loves most) are subtly juxtaposed with quietly wrenching, oddly offbeat lyrical moments (Michael’s hilarious invention of “the Yiddish constellations” for his stargazing family; Anthony and Dani impulsively bike-riding through Livingston’s deserted streets in the middle of the night). Such seductive mysteries cohere in Anthony’s mind as “legends” that will simultaneously enrich him and—as the bittersweet conclusion shows—quietly break his heart.
Young as he is, Reiken knows the territory of emotional commitment and confusion as well as anybody writing today. Beautiful stuff.Pub Date: Aug. 1, 2000
ISBN: 0-15-100507-9
Page Count: 320
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 1, 2000
BOOK REVIEW
BOOK REVIEW
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
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
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