The author best known for her 1975 novel, Looking for Mr. Goodbar, again uses an actual murder case as inspiration for her fiction, this time in a masterful dissection of a young girl's tortured journey from mother-love to matricide. Anita Stern runs away from home when she's 16 and gives birth to her first child, out of wedlock, when she's 22. The ever- restless Anita manages to stay put for daughter Madeleine's first five years, but then the itch to wander takes hold of her again. She eventually settles in Santa Fe, moving in with a drug-dazed hippie who owns an old adobe house on Canyon Road. Demonstrating her practical brilliance, Anita soon turns the house into the road's largest art gallery; demonstrating her personal irresponsibility, she conceives a child with the hippie. But Anita loves babies. In fact, her adoration for baby Billy so completely eclipses her feelings for Madeleine that she often seems to forget that she even has a daughter. As Madeleine grows older, becoming ever more earnest and responsible in a futile effort to regain her mother's love, the hard-drinking Anita's neglect escalates to negligence (she stays out all night, or has sex in Madeleine's presence) and even physical abuse. Scarred by her mother's cruelty and by loneliness (her own first love affair ends badly), and longing for some sense of security, Madeleine finds herself locked in her adolescence into a love-hate struggle with her terrible mother—longing to return to the happiness of infancy, loathing her own ``boring neediness,'' and counting the days until her escape to college. Unfortunately, the stresses in Anita's life come to a head before Madeleine can flee. In an alcoholic rage, she attacks her daughter with a broken tequila bottle, and in fighting back, Madeleine alters both their fates. Relentless, suspenseful, and absolutely captivating. Rarely has a toxic mother-daughter love story been so expertly and convincingly evoked. (Author tour)

Pub Date: Oct. 1, 1997

ISBN: 0-385-48427-5

Page Count: 352

Publisher: Nan A. Talese

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 15, 1997

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Debut novel by hip-hop rap artist Sister Souljah, whose No Disrespect (1994), which mixes sexual history with political diatribe, is popular in schools country-wide. In its way, this is a tour de force of black English and underworld slang, as finely tuned to its heroine’s voice as Alice Walker’s The Color Purple. The subject matter, though, has a certain flashiness, like a black Godfather family saga, and the heroine’s eventual fall develops only glancingly from her character. Born to a 14-year-old mother during one of New York’s worst snowstorms, Winter Santiaga is the teenaged daughter of Ricky Santiaga, Brooklyn’s top drug dealer, who lives like an Arab prince and treats his wife and four daughters like a queen and her princesses. Winter lost her virginity at 12 and now focuses unwaveringly on varieties of adolescent self-indulgence: sex and sugar-daddies, clothes, and getting her own way. She uses school only as a stepping-stone for getting out of the house—after all, nobody’s paying her to go there. But if there’s no money in it, why go? Meanwhile, Daddy decides it’s time to move out of Brooklyn to truly fancy digs on Long Island, though this places him in the discomfiting position of not being absolutely hands-on with his dealers; and sure enough the rise of some young Turks leads to his arrest. Then he does something really stupid: he murders his wife’s two weak brothers in jail with him on Riker’s Island and gets two consecutive life sentences. Winter’s then on her own, especially with Bullet, who may have replaced her dad as top hood, though when she selfishly fails to help her pregnant buddy Simone, there’s worse—much worse—to come. Thinness aside: riveting stuff, with language so frank it curls your hair. (Author tour)

Pub Date: April 1, 1999

ISBN: 0-671-02578-3

Page Count: 320

Publisher: Pocket

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Feb. 1, 1999

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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. 22, 2014

Kirkus Reviews Issue: Jan. 1, 2015

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