Sudsy adolescent melodrama is compensated for by a complex portrayal of small-town life, and by the care second-novelist...
An Iowa teenager grows through a year of grieving after her mother’s suicide—in a gentle story hovering on the brink of sentimentality.
One night in the spring of 1975, Alice’s mother Annie parks her car on a train track and waits for the train to hit. Three days later, 15-year-old Alice begins to hear her dead mother’s voice. Annie, in fact, fills Alice in on so many otherwise unknowable details about her past that after awhile the voice begins to feel less like a spiritual connection and more like simply a contrivance for getting information across. We learn that Annie left Iowa at 17, heading to New York with a man she met on a train after the man she really loved died. Four years later, she came home with one baby in her arms and pregnant with another. Being the kind of troubled-but-charismatic single mother now almost a cliché of contemporary women’s fiction, she was adored by her kids but never did fit back into small-town life. Now, though, Alice, her 16-year-old brother Will, and their guardian—Annie’s older sister Aggie—must cope with Annie’s death. Aggie turns to art and faces her life-long loneliness. Will, a star athlete too kind and brotherly to pass belief, breaks up with his genuinely nice girlfriend and starts hanging out with sensitive bad boy Joe Fry. It’s not long before Alice and Joe make eye contact and Alice soon loses her virginity. Then Alice discovers that class slut Paula—a nicer girl than her looseness would suggest—is pregnant. Heartbroken, Alice assumes Joe is the father, but readers will have already guessed the truth.
Sudsy adolescent melodrama is compensated for by a complex portrayal of small-town life, and by the care second-novelist Pietrzyk (Pears on a Willow Tree, 1998 ) takes in developing the little moments that make up Alice’s life.Pub Date: March 2, 2004
ISBN: 0-06-055465-7
Page Count: 304
Publisher: Morrow/HarperCollins
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Dec. 15, 2003
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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