by John Cheever and edited by Blake Bailey ‧ RELEASE DATE: March 1, 2009
But there’s more to Cheever—in the Proustian digressiveness of “The Jewels of the Cabots”; the episodic (pre-Wapshot) comedy...
Despite the early acceptance of John Cheever (1912–82) as a writer of short stories for prestigious magazines (the New Republic, the New Yorker), he struggled for decades to support a growing family and earn critical respect (both of these goals were realized, in spades, in his later years). Conversely, the roles Cheever played adeptly—those of a conventional, albeit eccentric suburbanite and a doting paterfamilias—were forcibly shed as he slipped further into lifelong alcoholism and a troubled, if finally liberating confrontation with his deeply conflicted sexuality.
What has always been most attractive about Cheever’s springy, eternally hopeful, extroverted fiction is its beguiling sense of open-ended possibility: the “territory ahead” or “world elsewhere” that beckon implicitly in American narratives, from Cooper’s Leatherstocking Tales and Twain’s Mississippi River adventuring, to Saul Bellow’s chronicles of newly made Americans seizing their futures from the flotsam and jetsam of a truly patchwork country and culture. As Cheever moved into the ampler realms of the novel, his short stories’ trademark focus on moments of epiphany or recognition—in which the urban and quotidian become perturbed and energized by their collision with the fabulous and mythical—expanded into generously imagined narratives—of families transformed by the compromises of aging and changing (in the delightful paired novels The Wapshot Chronicle and The Wapshot Scandal) and of an even more radical transformation in Falconer, a masterly fable of crime and punishment, imprisonment and ascension. Despite these climactic achievements, it is Cheever as storyteller that most readers prize above his other incarnations. The Library of America’s irresistible collection includes the complete contents of the Pulitzer Prize–winning 1978 Stories, plus handfuls of uncollected stories and others published in Cheever’s essentially disowned 1941 debut collection The Way Some People Live. All 75 of these are incontestably worth reading, and many have taken up permanent residence in their readers’ memories. Classic portrayals of suburban angst range from essentially conventional cautionary tales (“The Sorrows of Gin,” “The Five-Forty-Eight”), redeemed by their imaginative intensity, to stronger, darker visions—e.g., of a radio in an apartment building that broadcasts details of its occupants’ lives (“The Enormous Radio”); a financially strapped Everyman who finds himself robbing his affluent neighbors’ homes (“The Housebreaker of Shady Hill”); and the perilously heightened imagination that afflicts the chance survivor of an airplane crash (“The Country Husband”).
But there’s more to Cheever—in the Proustian digressiveness of “The Jewels of the Cabots”; the episodic (pre-Wapshot) comedy of “The Day the Pig Fell into the Well”; and, in the best story he ever wrote, a heartbreakingly candid revelation (“Goodbye, My Brother”) of a loving relationship finally understood as both blessing and curse. The mysteriousness of human love and frailty and confusion has seldom been confessed and celebrated with such passionate candor. Attention must be paid, and glasses should be raised in tribute and gratitude to it.Pub Date: March 1, 2009
ISBN: 978-1-59853-034-6
Page Count: 1056
Publisher: Library of America
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Jan. 1, 2009
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by Hanya Yanagihara ‧ RELEASE DATE: March 10, 2015
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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by J.D. Salinger ‧ RELEASE DATE: June 15, 1951
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
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