Contrasting flavors struggle for dominance in Fertig’s debut novel.
A pastry chef with an uncanny ability returns to her hometown to make sense of her future while delving into the past.
With her marriage on the rocks, Claire “Neely” O’Neil leaves New York City behind to open up her dream bakery in Millcreek Valley, Ohio. Though she's unsure of the fate of her relationship, her bakery, Rainbow Cake, is a success in the town’s thriving bridal district. Neely is able to “read” people by connecting feelings to flavors, which helps her pair the perfect cake and frosting with any customer. This allows her to construct a unique flavor profile to help someone cope with the complexities of his or her life: “Every flavor, I knew, was a shortcut to a feeling. Sorrow. Joy. Anticipation. Fear.” In many cases, this skill proves helpful, though Neely is overwhelmed by a ubiquitous sour flavor that she doesn’t quite understand. The narrative alternates between Neely’s first-person accounts in the present and a complicated secondary story told in the third person that begins in 1908 and interrupts what had been a steady pace. The dueling storyline starts with a unique piece of jewelry and then delves into the young lives of Olive and Edie Habig in the 1930s. As with some of Neely’s more adventurous flavor combinations, it requires the reader to take a leap of faith that the two tales will eventually converge. Though the path toward clarity is long and winding, it does get there in the end. Neely’s “gift,” and her insistence on following through with every sense that she experiences, complicates what might have been a charming novel. The prose is at its best when it focuses on the smells and tastes of the bakery—the decadent buttercream, the elegant cakes, and the whirr of the espresso machine constantly in motion.
Contrasting flavors struggle for dominance in Fertig’s debut novel.Pub Date: June 2, 2015
ISBN: 978-0-425-27732-4
Page Count: 304
Publisher: Berkley
Review Posted Online: April 1, 2015
Kirkus Reviews Issue: April 15, 2015
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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