A heartbreaking and exquisite story about emotional violence.
A novel traces a forlorn woman’s romantic and artistic journey.
Angela Dunnewald barely keeps it together as a lonely housewife in a wealthy New England suburb. Her daily interactions are typically limited to lunch with Lydia, the larger-than-life socialite who has taken an inexplicable liking to Angela, and brief exchanges with Ina, her stern housekeeper. Angela’s husband, Ross, is often absent and reliably self-absorbed and spiteful when he is home: “Once, when he’d broken a teacup...he’d blamed the table, saying it was too small.” Everything changes when a mysterious stranger starts lurking outside the house. Sensing a kindred spirit, Angela eventually invites him in. Daniel is an itinerant carpenter from a broken home: quiet, gentle, good, and everything Ross is not. Daniel starts visiting regularly, and Angela lives vicariously through imagining his life apart from her. She falls in love with him, enjoying “the sense he gives her that she’s not spinning alone through the dark.” The affair empowers her to think beyond the colorless existence she’s been leading. She enrolls in a local art class and renovates the garden shed, turning it into a studio where she finally feels some sense of purpose. She retreats from Ross and Lydia, but upon discovering that Daniel may be hiding more than just their affair, that relationship, too, threatens to unravel. The novel boasts some stunning turns of phrase bridging Angela’s thoughts and reality. In describing Daniel: “He’s some lean-flanked, fine-boned thing. A deer. Or a wolf. Her mind is caught up in entanglements, people and animals coupling in strange ways, swans, she sees swans, and satyrs.” No moment feels wasted under Legters’ (Connected Underneath, 2016) keen, observant eye. When Angela and Ross attend yet another expensive, stuffy dinner, an oversized menu is “the size of an airplane wing,” and fellow diners wear blank faces “like those huge sunflowers.” All the while, Angela’s frustration that she hasn’t made the most of her life and her path toward self-acceptance ring true in this painfully beautiful tale. Fans of Richard Yates’ Revolutionary Road (1961) rejoice.
A heartbreaking and exquisite story about emotional violence.Pub Date: May 27, 2017
ISBN: 978-1-59021-647-7
Page Count: -
Publisher: Lethe Press
Review Posted Online: April 3, 2017
Kirkus Reviews Issue: May 1, 2017
Review Program: Kirkus Indie
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
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
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