It’s Catch-22 by way of The Matrix.
Bubblegum pop-future comedy in which corporations go to war like feudal fiefdoms.
In a move guaranteed to provide the impetus for many a lawsuit, all Barry’s characters have forgone use of their surnames in the interest of renaming themselves after their place of work—so we have Jennifer Government, John Nike, Hack Nike, Buy Mitsui, and Billy NRA. Jennifer is a former top advertising exec with a barcode tattoo on her face who is now a loose-cannon federal agent and single mother, as deadly with a pistol as she once was with ad copy. The world situation: corporations are even more rapacious than today, and they fight one another along battle lines drawn up by two big consumer reward programs: US Alliance and Team Advantage. Governments themselves are a thing of the past, with the exception of the US one, which is now privatized and running other parts of the globe, including Australia, where the book is set. Coldhearted marketing whiz John Nike (one of two characters so named) has decided that Nike’s new sneakers would fly off the shelves all the faster if on the day they were delivered to Niketowns, several teenage customers got shot for them. It’s a manufactured street cred thing. Shooters are hired—many from the now-privatized and militia-like NRA—and, despite Jennifer’s best efforts, 14 teen shoppers get killed. The remainder of the story describes a rapidly escalating battle for supremacy between Jennifer’s government agents and the forces of Nike, who believe themselves to be invulnerable and don’t hesitate to use deadly force. At the same time, things are heating up between US Alliance and Team Advantage, with Burger Kings getting bombed, snipers going after rival chain stores, and riots erupting in the streets. Barry (Syrup, 1999) has a quick wit and a light touch, which helps the reader skate over some of the occasional patches of too-obvious satire and should translate easily (though more litigiously) to film.
It’s Catch-22 by way of The Matrix.Pub Date: Feb. 1, 2003
ISBN: 0-385-50759-3
Page Count: 336
Publisher: Doubleday
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 1, 2002
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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