A first novel about an up-and-coming southern lawyer whose involvement in a case of serial murder makes him see just how much he's sacrificed for his high-profile firm—all of which shows mainly that, yes, they read John Grisham down south too. Clifford Nielson has given up his marriage, his family life, and his freedom for his partnership at Ramwell and Bosely and his rapacious boss Lewis Sherwood, perhaps the most famous criminal lawyer in the US. But it isn't enough, as Cliff finds when R&B is called on to assist in the defense of Travis Keith, the alleged Resort Ripper who's been killing and mutilating single women on vacation. Keith insists he's innocent, but a database that Cliff's doped out places him on the scene of virtually every one of the Ripper's 13 murders. What to do? In between tender interludes with head paralegal Kara Phillips, a female character who seems held over from another generation (``Kara was incredible that night. Sex with her was always fantastic, but this was the best time ever, with the possible exception of our first time in Montana''), Cliff ties one John F. Adamson in to the same locations, then realizes with horror that Adamson is actually—Lewis Sherwood. Is Sherwood really the Resort Ripper? Will Cliff be able to keep on Sherwood's trail without giving himself away? Will he be decoyed by the equity partnership Sherwood's dangling in front of him? What will he do if R&B closes ranks against him and freezes him out? Don't expect any serious treatment of any of these questions in the hundred pages left to run. Earnest and amateurish, especially in its falling action.
Pub Date: Oct. 14, 1993
ISBN: 0-399-13881-1
Page Count: 304
Publisher: Putnam
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1993
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
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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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