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A HAPPY GHOST

The humorous, ponderous misadventures of this malcontent are a lot of fun.

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A young man bemoans his stagnant life and struggles to make sense of the world around him in Flores’ novel.

The author limns the scattershot life of young Andrei, a chronically depressed, easily annoyed, contemplative Beverly Hills hotel clerk who grasps at personal bliss and meaningful change and who winds up mostly empty-handed. He divulges that he makes a generous salary and lives in an attractive apartment, but he sleeps on a futon mattress on a floor that “smelled of earth and mushroom” and angles to give people the impression that he actually went to college by wearing a UCLA hoodie. He admits to becoming “numb to life,” having lost interest in the things that used to make him happy. Every pleasure has become negated by its own predictability, he laments; video games, pornography, writing—nothing holds the allure it once did. His boredom is disrupted when he’s discovered pleasuring himself inside an unoccupied suite while listening to the neighboring room’s occupants having sex. He is caught by an incoming guest named Mars, a beautiful, wise, intuitive actress who, after a probing discussion, wholly captivates Andrei—to the point that he begins stalking her after his shifts.

For a shorter novel, Flores manages to economically convey a great amount of opinionated perspective, emotion, and dark, self-effacing humor. His skill is most evident in his masterfully imagined creation, the disillusioned, navel-gazing Andrei, alongside a busy cast of peripheral characters and a few particularly persnickety hotel guests: the male hotel floor manager who wears copious eyeliner and blush, the crying, aging woman “with marks of two dried rivers on her face,” and a host of others. All of these wacky personalities, highlighted in their brief interactions with the protagonist, collectively threaten to steal the show as they either enhance his life or inadvertently (and often comically) contribute to his continual state of misery. As the location of each chapter changes, so does the reader’s perspective on how Andrei is coping (or not) with the challenges set forth in his life. The story’s shifting settings, from bedroom to cafe to hospital to cemetery, are less jarring than they are enticing and exciting; these atmospheric variations lend the novel a sense of surprise. While the inclusion of spicy, explicit sex scenes may be off-putting to more sensitive readers, they humanize Andrei and flesh him out as a human being with needs and wants outside of more mundane, everyday desires—despite his opinion that sex is “disappointingly unidimensional.” Sprinkled among descriptions of Andrei’s antics are passages of protracted introspection and often pessimistic contemplation of life, human nature, his attraction to the opposite sex, and the eternal quest for happiness, all of which contribute to the story’s inward-facing perspective—and disappointingly sluggish pacing. Despite the vivid intensity with which Flores portrays Andrei’s interactions with Mars, the novel leaves this memorable relationship unresolved. In spite of these quibbles, the ride is a hoot, and readers will find themselves speculating about what Andrei does next or what agonizing new ordeal awaits him. That unpredictability is the best part of this novel.

The humorous, ponderous misadventures of this malcontent are a lot of fun.

Pub Date: Jan. 5, 2023

ISBN: 9798362073442

Page Count: 201

Publisher: Self

Review Posted Online: March 21, 2023

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THE WOMEN

A dramatic, vividly detailed reconstruction of a little-known aspect of the Vietnam War.

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A young woman’s experience as a nurse in Vietnam casts a deep shadow over her life.

When we learn that the farewell party in the opening scene is for Frances “Frankie” McGrath’s older brother—“a golden boy, a wild child who could make the hardest heart soften”—who is leaving to serve in Vietnam in 1966, we feel pretty certain that poor Finley McGrath is marked for death. Still, it’s a surprise when the fateful doorbell rings less than 20 pages later. His death inspires his sister to enlist as an Army nurse, and this turn of events is just the beginning of a roller coaster of a plot that’s impressive and engrossing if at times a bit formulaic. Hannah renders the experiences of the young women who served in Vietnam in all-encompassing detail. The first half of the book, set in gore-drenched hospital wards, mildewed dorm rooms, and boozy officers’ clubs, is an exciting read, tracking the transformation of virginal, uptight Frankie into a crack surgical nurse and woman of the world. Her tensely platonic romance with a married surgeon ends when his broken, unbreathing body is airlifted out by helicopter; she throws her pent-up passion into a wild affair with a soldier who happens to be her dead brother’s best friend. In the second part of the book, after the war, Frankie seems to experience every possible bad break. A drawback of the story is that none of the secondary characters in her life are fully three-dimensional: Her dismissive, chauvinistic father and tight-lipped, pill-popping mother, her fellow nurses, and her various love interests are more plot devices than people. You’ll wish you could have gone to Vegas and placed a bet on the ending—while it’s against all the odds, you’ll see it coming from a mile away.

A dramatic, vividly detailed reconstruction of a little-known aspect of the Vietnam War.

Pub Date: Feb. 6, 2024

ISBN: 9781250178633

Page Count: 480

Publisher: St. Martin's

Review Posted Online: Nov. 4, 2023

Kirkus Reviews Issue: Dec. 1, 2023

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A LITTLE LIFE

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. 21, 2014

Kirkus Reviews Issue: Jan. 1, 2015

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