A tale compromised by bizarre plot turns and an unsatisfying ending.

CANDY EVERYBODY WANTS

A debut novel by memoirist Kilmer-Purcell (I Am Not Myself These Days, 2006) that follows the adventures of a gay Midwestern, TV-obsessed teenager.

Jayson Blocher has always dreamed of escaping his tiny town of Oconomowoc, Wis., to make it big as a celebrity. But for a time it looks like his story’s climax is going to be tricking his neighbor Trey into kissing him. That is until Jayson’s erratic mother Toni gets stuck in a long-brewing financial and parenting crisis. Toni ships her son off in the middle of the night on a plane to New York to meet the aging movie star Oscard Harlande (Harley), whom she reveals, on the way to the airport, is Jayson’s father. Within the space of a few chapters, Jayson moves into the house from which his father is running a male prostitution ring, falls in love with his childhood TV crush, Devlin Williamson, and becomes a small-time celebrity after cruising into the starring role in a commercial for after-dinner mints. But there’s more. Jayson and Devlin become homeless when the prostitution ring is busted and Harley disappears with Jayson’s money, and the two move into the abandoned building in SoHo that Toni’s new lesbian lover’s drug addict brother calls home. By the time the whole Oconomowoc crew shows up in SoHo, with Jayson’s pregnant friend Tara and his special-needs brother Willie in tow, the novel starts moving into the Spectrum of the Ridiculous. But before this story can end, Jayson has to rush (or, at this point, stagger) back to Oconomowoc to rescue Trey from the perverse social-services cop who has locked him in his basement.

A tale compromised by bizarre plot turns and an unsatisfying ending.

Pub Date: May 13, 2008

ISBN: 978-0-06-133696-6

Page Count: 272

Publisher: Perennial/HarperCollins

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: May 15, 2008

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

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A LITTLE LIFE

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. 22, 2014

Kirkus Reviews Issue: Jan. 1, 2015

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