Readers who can accept the idea that one’s literary tastes determine one's identity will enjoy Gillespie’s humor, some...

LOVE LITERARY STYLE

Mistaken identities lead a literary snob and a romance writer to fall into bed and in love.

Aaron Mite is a frustrated novelist working as an adjunct in the English department where his father, an eminent literary critic, is an emeritus professor. Aaron channels his lack of success and his father’s stern disapproval into snobbery, directed at his undergraduate students’ work, genre fiction in general, and particular authors, for whom he leaves churlish anonymous reviews on Amazon.com. One of his favorite phrases in all three contexts is, “not worth the papyrus it was penned on.” Dour, pessimistic Aaron meets vivacious, warmhearted Laurie Lee at a writers’ colony to which she, an aspiring self-published romance writer, was mistakenly admitted. Opposites attract, and by the time Aaron realizes Laurie is a temp who attends beauty school at night, not the MacArthur Fellowship recipient he believed her to be, his loins and heart are firmly in her grasp. The novel follows Laurie and Aaron as they each pursue their literary dreams while trying not to let their differences tear them apart. Laurie, the romance writer, needs to learn “Craft,” while Aaron, the literary writer, must learn how to write with emotion. Gillespie’s (Girl Meets Class, 2015, etc.) latest attempts to thwarts stereotypes it has relied on to build its characters and plot, with mixed success.

Readers who can accept the idea that one’s literary tastes determine one's identity will enjoy Gillespie’s humor, some heartfelt moments, and a journey into the convoluted world of 21st-century publishing.

Pub Date: Nov. 1, 2016

ISBN: 978-1-63511-085-2

Page Count: 280

Publisher: Henery Press

Review Posted Online: Sept. 7, 2016

Kirkus Reviews Issue: Sept. 15, 2016

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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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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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