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SONS OF FORTUNE

Flat, bland, covered in wastelands of cliché.

Twins separated at birth are reunited decades later after many, many twists of fate.

The Oxford-educated Archer (The Eleventh Commandment, 1998, etc.) has deposited yet another pile of pages upon us but will likely escape prosecution for the crime. This time, he gives us a pair of twins born in 1950s Connecticut. Through a chain of obtusely convoluted events, the boys are mixed up at the hospital and raised by separate parents, never knowing of their siblinghood. It’s a long, long road until they meet again. One, Nat, is a smart but headstrong lad who could have gotten out of Vietnam but feels honor-bound to go, returns a celebrated hero after helping rescue some trapped soldiers, and goes into banking. The other, Fletcher, equally smart and headstrong, becomes a lawyer. Each marries a gorgeous, smart woman and starts riding a rocket to the top. Pretty much the only difference between the two is that Nat has a nemesis from school, Roger Elliot, a cartoonishly rotten brat who always plays dirty. Elliot is an archetype of archetypes who pops up occasionally just to inflict a wrong upon saintly Nat. The 1970s grumble on with only the occasional nod to the passage of time, and eventually the twins are both running for governor of Connecticut—Nat a Republican, Fletcher Democrat—and a final dirty trick by Elliot brings them together in a courtroom where Fletcher defends Nat against a murder charge—while the election is still going on. Most distressing about this dreary business is not that Archer’s plot points are so ridiculous or contrived, but that he fails to make it at all entertaining.

Flat, bland, covered in wastelands of cliché.

Pub Date: Jan. 1, 2003

ISBN: 0-312-31319-5

Page Count: 528

Publisher: St. Martin's

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Dec. 15, 2002

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A LITTLE LIFE

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

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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

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TO KILL A MOCKINGBIRD

A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.

Pub Date: July 11, 1960

ISBN: 0060935464

Page Count: 323

Publisher: Lippincott

Review Posted Online: Oct. 7, 2011

Kirkus Reviews Issue: July 1, 1960

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