Perhaps this is the way of things with fiction anthologies: lots of skill and nothing to rock the boat. It doesn’t...
Twenty pieces of the year’s crop of short fiction that never fail to deliver what is expected but rarely take us anywhere but the expected.
The O. Henry series works thus: the editor, Dark this year, collects what is presumably some of the best fiction in the land and then a panel of three respected writers vote for their favorites. The winners are ranked one, two, and three, and each jury member writes an introduction for one of them. This time, a trio of heavy-hitters, Dave Eggers, Joyce Carol Oates, and Colson Whitehead, are on board. Oates’s winner, “The Ceiling,” by Kevin Brockmeier, is a real corker about a town where a giant burnished thing—simply called “the object”—has appeared in the sky and is inexorably bearing down upon those who dwell there. Eggers and Whitehead fare less successfully with, respectively, a strong-starting fizzler about a gay musician reuniting with his ultra-Christian family in Texas (“Scordatura,” by Mark Ray Lewis) and a manufactured piece of Minnesota drama (“The Butcher’s Wife,” by Louise Erdrich). The inspiration for last year’s film Memento is included here—“Memento Mori,” by Jonathan Nolan—and it’s a good thing, too, as this is a collection that desperately needs a shot of twisty and inventive pulp. Despite how much solid and talented writing is on display, from Richard Ford’s serene “Charity” to David Foster Wallace’s chatty “Good Old Neon,” there is also a serious lack of much that’s terribly exciting or new. Passion? Experimentation? Good taste and the artfully constructed sentence rule here, and putting a trio of big names at the front of the book can’t change that reality.
Perhaps this is the way of things with fiction anthologies: lots of skill and nothing to rock the boat. It doesn’t necessarily mean that one wouldn’t enjoy reading the collection; it’s just that there’s little to make the reading of it a necessity. (For comparison’s sake, see Miller, below.)Pub Date: Aug. 27, 2002
ISBN: 0-385-72162-5
Page Count: 432
Publisher: Anchor
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 1, 2002
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
Genetically engineered dinosaurs run amok in Crichton's new, vastly entertaining science thriller. From the introduction alone—a classically Crichton-clear discussion of the implications of biotechnological research—it's evident that the Harvard M.D. has bounced back from the science-fantasy silliness of Sphere (1987) for another taut reworking of the Frankenstein theme, as in The Andromeda Strain and The Terminal Man. Here, Dr. Frankenstein is aging billionaire John Hammond, whose monster is a manmade ecosystem based on a Costa Rican island. Designed as the world's ultimate theme park, the ecosystem boasts climate and flora of the Jurassic Age and—most spectacularly—15 varieties of dinosaurs, created by elaborate genetic engineering that Crichton explains in fascinating detail, rich with dino-lore and complete with graphics. Into the park, for a safety check before its opening, comes the novel's band of characters—who, though well drawn, double as symbolic types in this unsubtle morality play. Among them are hero Alan Grant, noble paleontologist; Hammond, venal and obsessed; amoral dino-designer Henry Wu; Hammond's two innocent grandchildren; and mathematician Ian Malcolm, who in long diatribes serves as Crichton's mouthpiece to lament the folly of science. Upon arrival, the visitors tour the park; meanwhile, an industrial spy steals some dino embryos by shutting down the island's power—and its security grid, allowing the beasts to run loose. The bulk of the remaining narrative consists of dinos—ferocious T. Rex's, voracious velociraptors, venom-spitting dilophosaurs—stalking, ripping, and eating the cast in fast, furious, and suspenseful set-pieces as the ecosystem spins apart. And can Grant prevent the dinos from escaping to the mainland to create unchecked havoc? Though intrusive, the moralizing rarely slows this tornado-paced tale, a slick package of info-thrills that's Crichton's most clever since Congo (1980)—and easily the most exciting dinosaur novel ever written. A sure-fire best-seller.
Pub Date: Nov. 7, 1990
ISBN: 0394588169
Page Count: 424
Publisher: Knopf
Review Posted Online: Sept. 21, 2011
Kirkus Reviews Issue: Oct. 15, 1990
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