Still, the author brings these characters to life even as Ray (as in ray of light) and Opal (opalescence) begin to seem...
A comprehensive love story stretches from the birth of X-rays to the detonation of the first nuclear weapons, and links it all with rural America between the wars.
Ray Foster carries X-ray equipment in his truck and has “Phenomenologist” painted on the side. His experience runs the gamut of the expressions of war and the insidious technology of it; he was gassed by Germans in WWI, and is fascinated by all things headed toward atomic reaction, from firecrackers on up. Back in the States he becomes known as a photographer, but before long meets Opal, who can talk to him about nihilism, and explain what a “glory hole” is: the hottest part of a glassblower’s furnace. The two have chemistry, quite literally: “I like it when you talk your science stuff,” Opal says. The newlyweds are soon off on the adventure of their marriage, first a return to Ray’s Knoxville, then to a farm Opal inherits. Their travels take them through a convenient tour of contemporary science: moonshiners, accidental electrocutions, Clarence Darrow arguing for Evolution, the Office of Rural Electrification, where Ray eventually comes to work. When a friend dies, a votive candle isn’t enough for these two: they toss a chunk of phosphorous into water to watch the light sink away. It’s an absence of chemistry that keeps Ray and Opal from starting a family of their own, but before long they happen upon a foundling they name Lightfoot. At her best, Wiggins (John Dollar, 1988; Eveless Eden, 1995, etc.) here belongs in the company of Eudora Welty. Still, the connection between modern science and Ray and Opal’s landscape can seem strained—“Like the Big Dipper, which has seven identifiable stars, the Tennessee pours through seven states”—and where would this story go if not to the tragedy of radiation poisoning for one of its principals?
Still, the author brings these characters to life even as Ray (as in ray of light) and Opal (opalescence) begin to seem overtly apocryphal.Pub Date: June 11, 2003
ISBN: 0-684-86969-1
Page Count: 352
Publisher: Simon & Schuster
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 1, 2003
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
Too beholden to sentimentality and cliché, this novel fails to establish a uniquely realized perspective.
Hunter’s debut novel tracks the experiences of her family members during the Holocaust.
Sol and Nechuma Kurc, wealthy, cultured Jews in Radom, Poland, are successful shop owners; they and their grown children live a comfortable lifestyle. But that lifestyle is no protection against the onslaught of the Holocaust, which eventually scatters the members of the Kurc family among several continents. Genek, the oldest son, is exiled with his wife to a Siberian gulag. Halina, youngest of all the children, works to protect her family alongside her resistance-fighter husband. Addy, middle child, a composer and engineer before the war breaks out, leaves Europe on one of the last passenger ships, ending up thousands of miles away. Then, too, there are Mila and Felicia, Jakob and Bella, each with their own share of struggles—pain endured, horrors witnessed. Hunter conducted extensive research after learning that her grandfather (Addy in the book) survived the Holocaust. The research shows: her novel is thorough and precise in its details. It’s less precise in its language, however, which frequently relies on cliché. “You’ll get only one shot at this,” Halina thinks, enacting a plan to save her husband. “Don’t botch it.” Later, Genek, confronting a routine bit of paperwork, must decide whether or not to hide his Jewishness. “That form is a deal breaker,” he tells himself. “It’s life and death.” And: “They are low, it seems, on good fortune. And something tells him they’ll need it.” Worse than these stale phrases, though, are the moments when Hunter’s writing is entirely inadequate for the subject matter at hand. Genek, describing the gulag, calls the nearest town “a total shitscape.” This is a low point for Hunter’s writing; elsewhere in the novel, it’s stronger. Still, the characters remain flat and unknowable, while the novel itself is predictable. At this point, more than half a century’s worth of fiction and film has been inspired by the Holocaust—a weighty and imposing tradition. Hunter, it seems, hasn’t been able to break free from her dependence on it.
Too beholden to sentimentality and cliché, this novel fails to establish a uniquely realized perspective.Pub Date: Feb. 14, 2017
ISBN: 978-0-399-56308-9
Page Count: 416
Publisher: Viking
Review Posted Online: Nov. 21, 2016
Kirkus Reviews Issue: Dec. 1, 2016
BOOK TO SCREEN
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