Amis this time writes about Tod Friendly, a.k.a John Young, a.k.a Odilo Unverdorben—a doctor with a chilling past no one knows about: he was a medical experimenter under Mengele at Auschwitz. No one knows—that is, except his soul, his conscience, which narrates this book: backwards. Literally backwards—not in flashbacks, but everything like a film run in reverse, with construction become destruction, age become youth, horror become innocence. ``You want to know what I do?'' asks the narrator during his stint as trauma doctor. ``All right. Some guy comes in with a bandage around his head. We don't mess about. We'll soon have that off. He's got a hole in his head. So what do we do. We stick a nail in it. Get the nail—a good rusty one—from the trash or whatever. And lead him out to the Waiting Room where he's allowed to linger and holler for a while before we ferry him back to the night. Already we're busy with this baglady we've got, welding sock and shoe plastic on to the soles of her evil feet.'' Dialogue is equally in reverse order, so that you learn the trick of reading up from the page to get the full effect. The problem here is that Amis's cleverness has a glare-y insistence to it that undercuts the moralism it means to reflect. Like London Fields, the book is mostly at home in contemporary jeremiad: about New York, about modern sex, about the homeless, about the horror that doctors so blithely encounter. The Auschwitz material, coming last, also comes least—weakened by the narration's trickiness into seeming inevitable (though Amis puts a psychosexual spin on its roots, Ö la the Reichianism of his mentor Saul Bellow) and inhospitable to the stylistic flair that Amis can impart to even the worst contemporary sins. The chipped impressionism simply and unimpressively reads like the worst facts culled from the great annals of Martin Gilbert and Lucy Dawidowicz. Amis's particularity as a writer—the ethical outrage plus the gorgeously soiled, infinitely plastic style—is still remarkable: but his nimbleness on the stage of the global, historical, Big Picture theater serves him less and less well. The Holocaust couldn't care less about his ingenuity, which turns terribilitÖ into mere tour de force.*justify no*
Pub Date: Nov. 1, 1991
ISBN: 0-517-58515-4
Page Count: 160
Publisher: Harmony
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 1, 1991
IN THE NEWS
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
Dated sermonizing on career versus motherhood, and conflict driven by characters’ willed helplessness, sap this tale of...
Lifelong, conflicted friendship of two women is the premise of Hannah’s maudlin latest (Magic Hour, 2006, etc.), again set in Washington State.
Tallulah “Tully” Hart, father unknown, is the daughter of a hippie, Cloud, who makes only intermittent appearances in her life. Tully takes refuge with the family of her “best friend forever,” Kate Mularkey, who compares herself unfavorably with Tully, in regards to looks and charisma. In college, “TullyandKate” pledge the same sorority and major in communications. Tully has a life goal for them both: They will become network TV anchorwomen. Tully lands an internship at KCPO-TV in Seattle and finagles a producing job for Kate. Kate no longer wishes to follow Tully into broadcasting and is more drawn to fiction writing, but she hesitates to tell her overbearing friend. Meanwhile a love triangle blooms at KCPO: Hard-bitten, irresistibly handsome, former war correspondent Johnny is clearly smitten with Tully. Expecting rejection, Kate keeps her infatuation with Johnny secret. When Tully lands a reporting job with a Today-like show, her career shifts into hyperdrive. Johnny and Kate had started an affair once Tully moved to Manhattan, and when Kate gets pregnant with daughter Marah, they marry. Kate is content as a stay-at-home mom, but frets about being Johnny’s second choice and about her unrealized writing ambitions. Tully becomes Seattle’s answer to Oprah. She hires Johnny, which spells riches for him and Kate. But Kate’s buttons are fully depressed by pitched battles over slutwear and curfews with teenaged Marah, who idolizes her godmother Tully. In an improbable twist, Tully invites Kate and Marah to resolve their differences on her show, only to blindside Kate by accusing her, on live TV, of overprotecting Marah. The BFFs are sundered. Tully’s latest attempt to salvage Cloud fails: The incorrigible, now geriatric hippie absconds once more. Just as Kate develops a spine, she’s given some devastating news. Will the friends reconcile before it’s too late?
Dated sermonizing on career versus motherhood, and conflict driven by characters’ willed helplessness, sap this tale of poignancy.Pub Date: Feb. 1, 2008
ISBN: 978-0-312-36408-3
Page Count: 496
Publisher: St. Martin's
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 1, 2007
BOOK TO SCREEN
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