Properly creepy, but from time to time deliciously funny and heart-breakingly poignant, too. For those of you—and you know...
From Edgar-winner Ford (for The Girl in the Glass, 2005), a tale about three kids, a small town and the banality of evil.
The narrator is a sixth grader who has an older brother and a younger sister. They have an absentee father who works three jobs and an alcoholic mother. Were it not for the fact that they love each other—though none of them ever speak the word—it would be a family hell-bent on dysfunction. Still, for the most part, they’ve been able to consider themselves ordinary, until the night of the scream, the “shrill scream of a woman, so loud it tore the night open wide.” And so begins the Shadow Year, a year dark with every possibility of violence and loss. Enter the prowler, a tall, thin man with expressionless, skeletal features, white hair, dressed, at every sighting, in a long white coat. People vanish. Shy, awkward little Charlie Edison is the first, and other disappearances follow. There are harrowing confrontations, brushes with death, a brief alliance with a ghostly presence. In their basement the children have constructed a clay and cardboard replica of their local community, its neighborhoods and citizenry, complete with a representation of their elusive nemesis. It’s a town in flux, changing inexplicably and mysteriously. The conviction grows among them that by studying their model, they might be able to chart the terrifying progress of the prowler as he goes about the business of selecting targets. And then one day there’s every reason to believe it’s their own house he’s scoping.
Properly creepy, but from time to time deliciously funny and heart-breakingly poignant, too. For those of you—and you know who you are—who think the indispensable element for good genre fiction is good writing, this is not to be missed.Pub Date: March 1, 2008
ISBN: 978-0-06-123152-0
Page Count: 304
Publisher: Morrow/HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 1, 2008
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
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
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