An effective, tragic story of a decent man in a battle with the vicissitudes of life.
A man in crisis tries to find answers.
Playwright and screenwriter Kostmayer’s first novel begins with a bang and a crash. It’s 1971. The Vietnam War is raging, and 32-year-old Fargo Burns is throwing furniture, pans, brooms, and anything else he can grab out the window of his 12th-floor New York City apartment. He’s been hearing voices again. He's “losing his grip.” He feels sad, bewildered, and lost, yet somehow satisfied. Kostmayer draws upon his extensive dramatic experience to fashion an existential novel which is more play than prose, driven primarily by dialogue. Kostmayer employs first- and third-person narrative, interior monologue, and voices, like the chorus in a Greek drama, which emanate from Fargo’s mind, to roughly stitch together his story. This “night of fearful, inexplicable misery and violence” sends Fargo to the hospital, where he meets Lane Dubinsky, a sympathetic psychiatrist. The story moves back and forth between Fargo’s messy existence and his sessions with Lane. He’s broke, unemployed, living on welfare, and abusing drugs and alcohol. He’s separated from Holly, his wife, and their three children, whom he loves. After his release, Fargo finds a dingy apartment and regularly returns to his old haunt, Havoc, where he once worked as a bartender, coming under the spell of sexy, poetry-reading Billie Speed, girlfriend of psychopathic killer Kohler Skane. Frequent flashbacks to Fargo’s youth in Bitter Forest, Mississippi, introduce us to his family, the bigoted South in the 1940s, and the joyful as well as harrowing sources of those voices. Fargo is broken; he wants to be “fixed.” A big decision about his future awaits. It could end in a bad way. Kostmayer takes us on a bumpy, erratic ride, but there’s much here to admire.
An effective, tragic story of a decent man in a battle with the vicissitudes of life.Pub Date: March 1, 2020
ISBN: 978-0-692-03649-5
Page Count: 222
Publisher: Dr. Cicero Books
Review Posted Online: July 9, 2020
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.
The time is the not-so-distant future, when the US's spiraling social freedoms have finally called down a reaction, an Iranian-style repressive "monotheocracy" calling itself the Republic of Gilead—a Bible-thumping, racist, capital-punishing, and misogynistic rule that would do away with pleasure altogether were it not for one thing: that the Gileadan women, pure and true (as opposed to all the nonbelieving women, those who've ever been adulterous or married more than once), are found rarely fertile.
Thus are drafted a whole class of "handmaids," whose function is to bear the children of the elite, to be fecund or else (else being certain death, sent out to be toxic-waste removers on outlying islands). The narrative frame for Atwood's dystopian vision is the hopeless private testimony of one of these surrogate mothers, Offred ("of" plus the name of her male protector). Lying cradled by the body of the barren wife, being meanwhile serviced by the husband, Offred's "ceremony" must be successful—if she does not want to join the ranks of the other disappeared (which include her mother, her husband—dead—and small daughter, all taken away during the years of revolt). One Of her only human conduits is a gradually developing affair with her master's chauffeur—something that's balanced more than offset, though, by the master's hypocritically un-Puritan use of her as a kind of B-girl at private parties held by the ruling men in a spirit of nostalgia and lust. This latter relationship, edging into real need (the master's), is very effectively done; it highlights the handmaid's (read Everywoman's) eternal exploitation, profane or sacred ("We are two-legged wombs, that's all: sacred vessels, ambulatory chalices"). Atwood, to her credit, creates a chillingly specific, imaginable night-mare. The book is short on characterization—this is Atwood, never a warm writer, at her steeliest—and long on cynicism—it's got none of the human credibility of a work such as Walker Percy's Love In The Ruins. But the scariness is visceral, a world that's like a dangerous and even fatal grid, an electrified fence.
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.Pub Date: Feb. 17, 1985
ISBN: 038549081X
Page Count: -
Publisher: Houghton Mifflin
Review Posted Online: Sept. 16, 2011
Kirkus Reviews Issue: Jan. 15, 1985
SEEN & HEARD
BOOK TO SCREEN
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
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