A coming-of-age tale with memorable and poignant characters but uneven prose.
In this debut novel, a man looks back on growing up with his five siblings in a family shaped by dysfunction and selfish maternal ambition.
In this first-person, coming-of-age narrative, Blydasafaulk Cain Bates has returned to his Southern hometown. The sight of the old corner house he grew up in sparks a 50-year-old memory of the day he saw his disabled eldest brother jabbed with an umbrella and called a “crippled urchin” by a passing stranger. The adult Cain continues recalling his life with his older sister, four brothers, and the cold mother who manipulated and dominated them all. Cain refers to her as “the mother,” an indication of the emotional remove he cultivated as self-protection. Dumas paints a poignant picture of a child who absorbed early on that his mother had no love to give, and who learned to scavenge crumbs of warmth and affection from his siblings. (The unassertive father is barely a presence.) The protagonist’s eldest brother, Ferdinand Freudenham “Freud” Bates (the children’s outlandish names are a symptom of the mother’s obsessive grandiosity), is the heart of Cain’s narrative. Intended from birth to be the family’s golden boy, Freud was physically disabled as a child and prone to seizures due to a brain tumor. Cain observes his brother as boy and adult with both guilt and compassion. Regrettably, Dumas undercuts his impressive characters and dilutes Cain’s narrative with numerous verbose, pedantic digressions: “If you be one of the rare persons who needed support that wasn’t present or if inquietude frequented your life as warmth passed you by, then follow my thoughts for a moment….The place where one departs from is no longer the same place. It might have the appearance of sameness. Quantumwise, it is majorly altered.” Nor is the book served by the stilted “dear reader” device (“Reader, before I return to our story”; “At this juncture, dear reader”). And the sudden, cryptic ending seems to belong to a different novel entirely, or at least needs further explanation. Errors in the text (such as “spill” for spiel; “thrills” for trills; and “self” for shelf) require attention as well.
A coming-of-age tale with memorable and poignant characters but uneven prose.Pub Date: Oct. 13, 2017
ISBN: 978-1-975992-01-9
Page Count: 166
Publisher: CreateSpace
Review Posted Online: March 6, 2018
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
Genetically engineered dinosaurs run amok in Crichton's new, vastly entertaining science thriller. From the introduction alone—a classically Crichton-clear discussion of the implications of biotechnological research—it's evident that the Harvard M.D. has bounced back from the science-fantasy silliness of Sphere (1987) for another taut reworking of the Frankenstein theme, as in The Andromeda Strain and The Terminal Man. Here, Dr. Frankenstein is aging billionaire John Hammond, whose monster is a manmade ecosystem based on a Costa Rican island. Designed as the world's ultimate theme park, the ecosystem boasts climate and flora of the Jurassic Age and—most spectacularly—15 varieties of dinosaurs, created by elaborate genetic engineering that Crichton explains in fascinating detail, rich with dino-lore and complete with graphics. Into the park, for a safety check before its opening, comes the novel's band of characters—who, though well drawn, double as symbolic types in this unsubtle morality play. Among them are hero Alan Grant, noble paleontologist; Hammond, venal and obsessed; amoral dino-designer Henry Wu; Hammond's two innocent grandchildren; and mathematician Ian Malcolm, who in long diatribes serves as Crichton's mouthpiece to lament the folly of science. Upon arrival, the visitors tour the park; meanwhile, an industrial spy steals some dino embryos by shutting down the island's power—and its security grid, allowing the beasts to run loose. The bulk of the remaining narrative consists of dinos—ferocious T. Rex's, voracious velociraptors, venom-spitting dilophosaurs—stalking, ripping, and eating the cast in fast, furious, and suspenseful set-pieces as the ecosystem spins apart. And can Grant prevent the dinos from escaping to the mainland to create unchecked havoc? Though intrusive, the moralizing rarely slows this tornado-paced tale, a slick package of info-thrills that's Crichton's most clever since Congo (1980)—and easily the most exciting dinosaur novel ever written. A sure-fire best-seller.
Pub Date: Nov. 7, 1990
ISBN: 0394588169
Page Count: 424
Publisher: Knopf
Review Posted Online: Sept. 21, 2011
Kirkus Reviews Issue: Oct. 15, 1990
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