by Meg Pei ‧ RELEASE DATE: May 1, 1992
Despite the title, some corroborative details, and Japanese protagonists, this first novel is more about Everyman in a Gray Flannel Suit than the product of a specific culture. Jun Shimada, the illegitimate son of a hotel maid and a famous Japanese poet who committed suicide, joins the Yamamoto Corporation, the number-five electronics corporation in the world, because ``having such a cloudy background, I felt driven to prove myself as levelheaded, a doer, not a quivering intellectual like my father.'' At first, Jun enjoys the work; he marries the vaguely artistic Taeko; and starts his corporate ascent. But a promotional transfer to New York begins the unraveling both of Jun and his marriage. Unable to speak English, and isolated in suburbia, Taeko has an affair with her Japanese doctor. Meanwhile, Jun, increasingly frustrated by the stifling corporate atmosphere and his role as the boss's personal flunky, begins drinking heavily and has an affair with a young woman in Chicago, where he travels frequently on business. When Taeko takes their children back to Japan and files for divorce, Jun finally falls apart. Sent to dry out in a center in Quebec run by a Japanese business association, Jun has his moment of epiphany. He comes back to Chicago sober, finds work as a translator and sous-chef—he has always had a desire to cook—and settles down to write his letter of resignation. Taeko, now a serious artist, pays a surprise visit, and all ends on a high note. A well-written and affectingly old-fashioned story, with contemporary nuances and multicultural themes, but lacking the transforming personal or ethnic resonance that the publisher claims for it.
Pub Date: May 1, 1992
ISBN: 0-670-83979-5
Page Count: 304
Publisher: Viking
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 15, 1992
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by Hanya Yanagihara ‧ RELEASE DATE: March 10, 2015
The phrase “tour de force” could have been invented for this audacious novel.
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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
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by J.D. Salinger ‧ RELEASE DATE: June 15, 1951
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
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