The indefatigable Updike only occasionally succeeds here. Tristo, a black teenager from the favela, encounters Isabel, a rich and sheltered young daughter of the elite, one afternoon on Rio's Copacabana beach—and when Isabel takes him home and gives her maidenhead to him, both kids discover a love union like that of their storied counterparts, Romeo and Juliet. With Tristo, Isabel flees Rio, ahead of her father's armed posse, and they make it as far as So Paulo. There, Isabel is wrenched away—but this is only the first of a number of forced (and false) partings, around which, together, Isabel and Tristo will turn to gold-mining, prostitution, living among jungle Indians, and finally re-civilization. Isabel will even resort to the help of magic to have Tristo returned to her, at the price of a shaman-induced change in respective skin-colors for them both—Updike's woolliest turn in a story fanciful with twists and turns, touristy aperáus, and sexual philosophy. Like a slab of abused plywood, the novel is forever coming apart into its separate laminates. Updike at times (especially when he's trying to write suspenseful scenes, or violent ones) seems to be using the exotic foreignness of his setting as an excuse for over-vividness, somewhat like Karl May's old German romances of the American Indian. Elsewhere, more cunningly, he seems to be subverting some of Latin-American magic realism's more bloated clichÇs by overturning them into a kind of realistic-magic fiction. But, again, as in the African-based The Coup, he seems to think he needs another continent to try to tell the story of a wholly other—and maybe to tell a story, period. The Updikean intelligence and draughtsmanship and sex-awe constantly obtrude, weakening the narrative big picture, studding the book with perceptions and alertness galore but never with quite the air of exotic metaphysical enchantment the novelist seems to seek. Saul Bellow's finest book, Henderson the Rain King, is still unchallenged as the only American novel of our era to do that.
Pub Date: Feb. 9, 1994
ISBN: 0-679-43071-7
Page Count: 288
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 1993
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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