Evocative stuff, sure; but unlike her celebrated Athenian models, Estill never makes it clear what human reality is being...
First-novelist Estill’s fatal romantic triangle aims for Greek tragedy but produces Greek watercolors instead.
Grieving the loss of the mother who took ill during her last year of college, Sylvia Harris, who can’t stay in the same place as her memories, has ended up in Athens. Even more haunting memories arrive, however, on the wing of Althea Melas, the beautiful, schizophrenic wife of painter Aristides Melas, from the moment Sylvia meets her in the National Gardens. Sylvia’s matter-of-fact acceptance of Althea despite her madness ironically throws her together with Ari, and eventually, after token resistance, into his bed. Divorcing Althea is out of the question, Ari maintains, though it isn’t certain whether that’s because he still loves her or because he’s afraid of the wealthy and powerful family who concealed her malady from him until after his wedding. And giving Sylvia up is equally impossible. So the ill-starred trio drift through a series of picture-postcard backdrops—punctuated by Sylvia’s gently lacerating memories of her mother and her continued fascination with her late father’s acquaintance, celebrated Death Row inmate Dr. Sam Sheppard—as the lovers slowly acknowledge that Althea, whose near presence seems to hover like a benediction over their couplings, does indeed understand, along with virtually everyone else they meet, what’s going on between them. Althea stuns them by announcing that she’s pregnant; a boating accident leaves the three of them adrift; a cousin’s wedding Althea insists on attending has inevitably fatal results. Yet all three sides of the loving triangle, especially Althea, remain inscrutable, screened by dazzling Greek landscapes, even during the most vividly rendered scenes.
Evocative stuff, sure; but unlike her celebrated Athenian models, Estill never makes it clear what human reality is being evoked.Pub Date: May 1, 2000
ISBN: 0-86538-098-8
Page Count: 175
Publisher: Ontario Review
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 2000
BOOK REVIEW
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
Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.
Sisters work together to solve a child-abandonment case.
Ellie and Julia Cates have never been close. Julia is shy and brainy; Ellie gets by on charm and looks. Their differences must be tossed aside when a traumatized young girl wanders in from the forest into their hometown in Washington. The sisters’ professional skills are put to the test. Julia is a world-renowned child psychologist who has lost her edge. She is reeling from a case that went publicly sour. Though she was cleared of all wrongdoing, Julia’s name was tarnished, forcing her to shutter her Beverly Hills practice. Ellie Barton is the local police chief in Rain Valley, who’s never faced a tougher case. This is her chance to prove she is more than just a fading homecoming queen, but a scarcity of clues and a reluctant victim make locating the girl’s parents nearly impossible. Ellie places an SOS call to her sister; she needs an expert to rehabilitate this wild-child who has been living outside of civilization for years. Confronted with her professional demons, Julia once again has the opportunity to display her talents and salvage her reputation. Hannah (The Things We Do for Love, 2004, etc.) is at her best when writing from the girl’s perspective. The feral wolf-child keeps the reader interested long after the other, transparent characters have grown tiresome. Hannah’s torturously over-written romance passages are stale, but there are surprises in store as the sisters set about unearthing Alice’s past and creating a home for her.
Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.Pub Date: March 1, 2006
ISBN: 0-345-46752-3
Page Count: 400
Publisher: Ballantine
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Dec. 1, 2005
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