A riotously edifying take on civic and private responsibility in an age of elaborate morals.
The author of The Good Life (1999) returns with his second: a hard-hitting, at times sidesplitting tale of trust, temptation, and redemption.
Hudson City is a bust, a pockmark on New York’s upstate. You can’t even buy good coffee in this tired industrial town. Then Sue, a lovely Afro-Asian, is linked to a strange healing; citizens and officials insist, for reasons not entirely spiritual, that a miracle has occurred. People dream about the Miracle Girl, and, presto, kidney stones are dissolved, that sort of thing. Soon, pilgrims throng to the city, accompanied by oppressively hot winds. But the miracle plays the devil on Quinn, a lapsed Catholic employed by his diocese to sell Church properties. It’s all he can do to drive the big, blunt, “shut this [miracle] down” Bishop through crowds. (In one of the funnier scenes, the Bishop orders him to defy a police barrier.) Things worsen when Quinn, who made a pile calculating available square footage for a prior employer, is asked to work his old magic to house pilgrims. His arduous schedule coincides with three dilemmas: romantic (his girlfriend, to whom he long ago gave herpes, has grown mysteriously distant), moral (a slick-speaking “friend” proposes a shady deal with the city’s chief landowner), and spiritual (his televised fainting spell, promptly spun as religious ecstasy, leaves him confused). Scribner plants his hero knee-deep in scruples, revealing the gray side of corruption, its agonizing logic and bantering alliances. We experience up-close the weather, temper, and architecture of a city hobbled enough to justify extreme gambits; we root for a couple who cling to their fading relationship, and their fading town, with a stubbornness bordering on piety. Some touches chafe—ours is a hero who takes the measure of himself in the mirror and hasn’t had a dream he can’t remember; his meditations on physical space feel strained; Sue seems a trifle underwritten—but, overall, these are quibbles.
A riotously edifying take on civic and private responsibility in an age of elaborate morals.Pub Date: Sept. 1, 2003
ISBN: 1-57322-250-X
Page Count: 256
Publisher: Riverhead
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 2003
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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