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PRIZE STORIES 1997

THE O. HENRY AWARDS

The fortunes of the short story are about as uncertain today as those of Bosnia, mainly because it's no longer clear whether this once-popular literary form has many readers who are not writers themselves. This new entry in the venerable annual series doesn't much help clarify matters. The tales gathered by editor Dark (The Literary Traveler, 1994) were originally published in the usual rarefied venues—i.e., nonprofit quarterlies and the New Yorker— and most of them read like workshop exercises or novel fragments. Mary Gordon, in ``City Life,'' leads off the parade with yet another of her postmodern Horatio Alger tales, this one about a faculty wife at Columbia who thinks she has put her lower-class origins safely behind her until a weird encounter with a deranged neighbor. John Barth, in ``On With the Story,'' gets metaphysical in his description of an unhappily married young woman on a cross- country flight increasingly unsettled by the short story she is reading, which seems practically a portrait of her own life, and unaware that the stranger in the seat beside her is its author. ``Dancing After Hours'' gives us Andre Dubus's by-now quite familiar portrait of broken-down passion in backwoods Massachusetts, this time involving a retired schoolteacher who tends bar and an invalid. Representatives of the younger generation include Thomas Glave, who, in ``The Final Inning,'' describes the tensions that build up among the friends and relatives of a young black man from the ghetto who has died of AIDS, and how they erupt- -quite literally over the body of the deceased. And Rick Moody, in ``Demonology,'' also deals with a death in the family, this one being a young mother in suburban New Jersey who is remembered by her troubled younger brother. Pale and wan and surprisingly unambitious throughout. Introspection may be the prerequisite of serious literature, but it is not its end—and is obviously not its guarantee.

Pub Date: Oct. 1, 1997

ISBN: 0-385-48361-9

Page Count: 496

Publisher: Anchor

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Sept. 1, 1997

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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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TO KILL A MOCKINGBIRD

A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.

Pub Date: July 11, 1960

ISBN: 0060935464

Page Count: 323

Publisher: Lippincott

Review Posted Online: Oct. 7, 2011

Kirkus Reviews Issue: July 1, 1960

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