Harmel (The Blonde Theory, 2007, etc.) hits all the required marks, and the novel may appeal to those readers who want a...
A young woman working in media struggles to find love and fulfillment. Sound familiar?
Twenty-nine-year old Emma hardly has a dream job: She’s a publicist for a Florida-based boy band. But never mind, because she’s getting married to the all too perfect Brett in a couple of months. That is until Brett unceremoniously breaks off their engagement, asks her to leave their shared house and takes up with her best friend one week later. Thankfully Emma is rescued by her old friend Poppy, a publicist living in Paris who just happens to need an assistant. When Emma arrives in the City of Lights (there are many romantic descriptions of Paris—the kind you’d find in a third-rate travelogue), she’s introduced to the firm’s only client, rock star Guillaume Riche. Poppy and Emma are in charge of launching his career in the English-speaking world, but it turns out that their real job is damage control. Dashing Guillaume is not so much a rock ’n’ roll bad boy as slightly deranged, and Emma and Poppy need to create plausible stories as to why their soon to be international superstar is, for instance, found hanging by his ankles from a 13-story building. Keeping the press at bay proves to be a challenge, especially when it comes to Gabriel, a hunky journalist who seems to know everything about Guillaume. The two fall for each other, but the required misunderstanding drives them apart. Do you think Emma will have a happy ending?
Harmel (The Blonde Theory, 2007, etc.) hits all the required marks, and the novel may appeal to those readers who want a location change from the usual New York, but the predictability of the plot renders the book forgettable.Pub Date: Feb. 25, 2008
ISBN: 978-0-446-58143-1
Page Count: 346
Publisher: 5 Spot/Grand Central Publishing
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 1, 2008
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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