Unerring eye for 1950s detail lifts this soap-operatic story above the ordinary, even if the plot springs are a bit too...
Teenager grows up fast in small Florida town—and then the plot really takes off in Hart’s second outing (after Waterwoman, 2002).
In expressive prose that avoids “southern fiction” preciousness, Hart brings us Dory Camber, daughter of Owen, hardware-store owner in sleepy Ordinary Springs. Dory’s earliest memories are fraught with questions. Where did her mother, Vera, disappear with that suitcase after telling toddler Dory a bedtime story? Why did her father bury her mother’s clothes? Why are her parents’ former best friends, the McMillans, now standoffish? Why is her father so distant? Dory works as her father’s housekeeper and helper at the store, and she assumes she’s first in his secretive heart—until the Yankee city-slicker Fitzgeralds move in across the street. Dory realizes with horror that her father, oblivious to the blandishments of every other female in town, is falling hard for the Capri-clad, spike-heeled, Dali-loving Myra Fitzgerald, whose WWII vet husband, Frank, is bedridden. While Owen and Myra are otherwise occupied in another room, Dory unwittingly becomes an accessory to Frank’s suicide. And then, when her father announces that he’s to marry Myra, Dory loses her already tenuous grip on self-restraint and, the night of her 16th birthday, has an assignation with childhood friend Pearce McMillan under a carnival truck, empties the cash register at Owen’s store, and tries to run away, only to be apprehended by the sheriff, who has zeroed in on her role in Frank’s death. From there, it’s on to reform school, escape (her expertise with hardware serves Dory well), a stint at a roadside diner and tourist trap, the birth of daughter Rose, an affair with a half-Seminole ’gator trapper, and a newfound determination to return to Ordinary Springs for a vigorous spring-cleaning of her father’s house and its resident demons.
Unerring eye for 1950s detail lifts this soap-operatic story above the ordinary, even if the plot springs are a bit too visible.Pub Date: Jan. 4, 2005
ISBN: 0-425-20005-1
Page Count: 384
Publisher: Berkley
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 15, 2004
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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