Any hope of profundity is further undermined by a maudlin ending worthy of a Hugh Grant movie.
A portrait painter becomes enmeshed in her subjects’ secrets and lies.
Ella, who at 35 has secured her niche as London portraitist to the wealthy and titled, has a knack for exposing the cloaked emotions of the people she paints. As the novel begins, she’s just received an e-mail from her once-revered father, John, who left Ella and her ballerina mother, Sue, 30 years ago for another woman. She’s debating whether to see John when her half-sister Chloe, finally recovering from an affair with a married man, wins a portrait from Ella at a charity auction. Ella is thus assigned to paint Chloe’s charismatic fiancé, Nate, an American employed by a London private-equity firm. At first Ella despises Nate—based on an overheard cell-phone call, she assumes he’s two-timing Chloe—but as he sits for her, she finds herself, to her dismay, falling for him brushstroke by brushstroke. As she helps Sue plan the myriad details of Chloe’s upcoming wedding extravaganza, her mother confesses that not only was John unfaithful, he had a child with the other woman. As she ponders this revelation of a sister she never knew she had, Ella is beset by other dilemmas. One of her subjects, a Frenchwoman, is not only cynical about the 40th birthday gala her much older husband is planning for her, but squeamish about being captured on canvas—could it be because she is having an affair? Another, an M.P. up for re-election, may have been the hit-and-run driver who killed Grace, a bicyclist whom Ella has been commissioned to memorialize in a posthumous painting from photographs. Wolff builds tension by skillfully balancing multiple plotlines of betrayal, deception and remorse. Although Ella’s close scrutiny of her subjects elucidates their characters, her own personality, thanks perhaps to her role as voyeur, remains opaque—not a winning trait in a protagonist.
Any hope of profundity is further undermined by a maudlin ending worthy of a Hugh Grant movie.Pub Date: Oct. 4, 2011
ISBN: 978-0-553-80784-4
Page Count: 320
Publisher: Bantam
Review Posted Online: Aug. 15, 2011
Kirkus Reviews Issue: Sept. 1, 2011
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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