Snappy stylist Maristed (Out After Dark, 1993) shows herself to be a scathing sociologist—if a less than thrilling mystery writer—in this occasionally romantic fictional exposÇ of the world of show jumping. It's a world where hard-as-nails trainers put their teenage riders through a hellish summer on the way to national competition. Unsavory practices in this moneyed culture include doping steeds so they'll perform better, and bumping off highly insured mounts for the money. Lex Healey is a 40ish drifter who's fallen in with this set largely, it seems, because of his practical wardrobe: T-shirts and jeans (good around the paddock). A security man who bumbles more than he protects, Lex has a fling going with the trainer everyone loves to hate, Erica Hablicht, an outsider whose riders have a habit of triumphing against established favorites. It's unclear whether Erica shares Lex's dizzy lovesickness, but she certainly doesn't let her reservations show when they're boffing, which is often. Minor characters—Hispanic grooms, slimy insurance investigators, loudmouth WASP parents, and unscrupulous trainers- -nip around the edges of the plot, but the one Maristed focuses on- -to the tale's detriment—is Ruth Pryor, a former rider crippled in an auto accident. Like a paralyzed Nancy Drew, Ruth motors around the shows in her golf cart, determined both to solve the mystery of several suspicious horse deaths and to learn the identity of the man who crippled her. She emerges as a tragic figure, but her story can't compete with Lex and Erica's more straightforward struggle. Lex is playing detective, too, but his talentless fumblings are clouded by Maristed's tendency to spend more time displaying her vast knowledge of what show jumping is about than in sticking to the mystery. A well-told and sinuously written story, full of flashes of brilliance. But, unfortunately, it deals with such a small sporting universe that it runs the risk of eluding the notice it deserves.
Pub Date: June 1, 1996
ISBN: 0-679-44409-2
Page Count: 256
Publisher: Random House
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 1996
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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