PATCHWORK

A carefully crafted first novel by poet Osborn that touches in on the lives of three sisters raised in a dusty South Carolina milltown. They are Rose, Lily, and June, daughters of a dirt-poor cotton farmer, but three very different shoots from the same vine. Salt-of-the-earth Rose marries mill-worker Edward and leads a lean but very steady life, bearing three children and cleaving to the church as the troubles of even the most conscientiously lived life threaten to drag her down. Lily devotes herself to getting what she wants, which is chiefly sex, though personal license doesn't set her free since she can't keep herself from bad-seed Charles, her first husband, even after she divorces him and marries mill-boss Forrest. And poor June, who weds the town banker, gets institutionalized after attempting infanticide; her daughter, Sylvie, is taken in by Rose and develops a passionate, quasi-incestuous attachment to Rose's son, Benjy. The years shuttle by, leaving all three sisters together in old age, with widowed Rose working at the mill again, Lily watching soaps and having a hard time remembering to keep her clothes on, and June, released from the asylum, still living in a dream world. It's only Sylvie who manages to make her way out of the family tangle, marrying happily and working as a free-lance writer in San Francisco. Osborn creates a beguiling array of female voices here, and a very authentic sense of time and place. But her story is essentially undramatic, which is what keeps it from achieving the cathartic resonance of the tonally similar novels of Alice Walker.

Pub Date: July 1, 1991

ISBN: 0-15-171292-1

Page Count: 352

Publisher: Harcourt

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: May 1, 1991

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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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A strict report, worthy of sympathy.

THE CATCHER IN THE RYE

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

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