Ambitious, complex, challengingly intellectual—and yet Alison manages it all with a clarity, learnedness, and rigor that...
Readers of Alison’s wondrous bringing to life of Ovid (The Love-Artist, 2001) will find here the same highly controlled lushness in a contemporary story that starts slowly but gains power.
In the manner of Michael Cunningham’s The Hours, with its now-famous homage to Mrs. Dalloway, Alison’s story follows sets of characters whose lives parallel, cross, sometimes touch one another. The sheer variety of people at the start can be frustrating: It isn’t always simple to remember who’s who as aging art patron Oswaldo wakes up in Venice; cook and food scholar Max leaves London for New Orleans to take up a university post but, more, to court the sensuous but elusive set-designer Lucinde; as artist Lach, in New York, breaks up with artist Vera—and then, for separate reasons, both go to Venice (where Vera will become old Oswaldo’s portraitist); and as young and struggling architect Anton also heads for Venice, leaving behind his intellectually brilliant but almost intolerably sensitive wife, Josephine, just as she’s resorting to a fertility doctor’s unpleasant regimen—abdominal injections, for example—in a last despairing attempt to get pregnant. Alison’s imagery (as in the Metamorphoses itself) is the imagery of change, erosion, disappearance, and loss, as both Venice and New Orleans, cities on the sea, sink slowly, becoming more and more permeated with water. Josephine, in fact, is a researcher of the great river, the dynamics of its assault on the city—while Anton, in Venice, will get (and lose) the chance to build a villa on the water for Oswald. Much, indeed, will be lost, drowned, eroded, and washed away before the close—the last of many fetuses; one adult life; numerous hopes and ambitions both artistic and romantic, intellectual and emotional, even historic.
Ambitious, complex, challengingly intellectual—and yet Alison manages it all with a clarity, learnedness, and rigor that bring into being a creation of real beauty, albeit also of sorrow. Hers is a real and significant attempt, and a real achievement.Pub Date: April 1, 2003
ISBN: 0-374-19941-8
Page Count: 272
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 15, 2003
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
Genetically engineered dinosaurs run amok in Crichton's new, vastly entertaining science thriller. From the introduction alone—a classically Crichton-clear discussion of the implications of biotechnological research—it's evident that the Harvard M.D. has bounced back from the science-fantasy silliness of Sphere (1987) for another taut reworking of the Frankenstein theme, as in The Andromeda Strain and The Terminal Man. Here, Dr. Frankenstein is aging billionaire John Hammond, whose monster is a manmade ecosystem based on a Costa Rican island. Designed as the world's ultimate theme park, the ecosystem boasts climate and flora of the Jurassic Age and—most spectacularly—15 varieties of dinosaurs, created by elaborate genetic engineering that Crichton explains in fascinating detail, rich with dino-lore and complete with graphics. Into the park, for a safety check before its opening, comes the novel's band of characters—who, though well drawn, double as symbolic types in this unsubtle morality play. Among them are hero Alan Grant, noble paleontologist; Hammond, venal and obsessed; amoral dino-designer Henry Wu; Hammond's two innocent grandchildren; and mathematician Ian Malcolm, who in long diatribes serves as Crichton's mouthpiece to lament the folly of science. Upon arrival, the visitors tour the park; meanwhile, an industrial spy steals some dino embryos by shutting down the island's power—and its security grid, allowing the beasts to run loose. The bulk of the remaining narrative consists of dinos—ferocious T. Rex's, voracious velociraptors, venom-spitting dilophosaurs—stalking, ripping, and eating the cast in fast, furious, and suspenseful set-pieces as the ecosystem spins apart. And can Grant prevent the dinos from escaping to the mainland to create unchecked havoc? Though intrusive, the moralizing rarely slows this tornado-paced tale, a slick package of info-thrills that's Crichton's most clever since Congo (1980)—and easily the most exciting dinosaur novel ever written. A sure-fire best-seller.
Pub Date: Nov. 7, 1990
ISBN: 0394588169
Page Count: 424
Publisher: Knopf
Review Posted Online: Sept. 21, 2011
Kirkus Reviews Issue: Oct. 15, 1990
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