Touted as a comedy, Dahlie’s debut is an exercise in schadenfreude that is not remotely funny.
Portrait of a well-heeled wimp.
When we first see Arthur Camden he’s crying his eyes out. The middle-aged New Yorker has reached his nadir. He has run the family import-export business into the ground, and his trampy wife Rebecca has divorced him. Arthur’s a member of an exclusive fishing club, the Fly Casters, and he has his tearful breakdown in front of his fellow members, believing them to be his friends. He’s wrong; for most of them he’s a figure of fun, but there’s an exception, Ken Fielder, who fixes Arthur up with some dates which don’t pan out. Then Arthur dates a woman called Rixa who insists he show her the club’s luxurious lodge in the Catskills, though it’s breaking the rules to sneak in strangers. The evening is a disaster; accident-prone Arthur causes a fire and bursts into tears as the club burns down. He’s forced to resign, but he still has his Park Avenue apartment and enough money to sustain a work-free lifestyle. Time to escape Manhattan. He takes up the reluctantly proffered invitation of an old school friend with a nice spread in the French Alps, but Prentice Ross is no more a friend now than his erstwhile fishing buddies. He’s a neglectful host, an angry alcoholic who lands Arthur in trouble with the cops; lacking the guts to deck Ross, Arthur beats a hasty retreat to Switzerland. Instead of a plot Dahlie arranges a series of scenes that humiliate Arthur without granting him self-knowledge; the point being, presumably, that there’s no fool like an old fool. At a family reunion on Nantucket he steals his cousin’s watch, an expensive family heirloom, only to have its loud alarm incriminate him, a moment of primitive farce. Farce is followed by wild improbability when ex-wife Rebecca, quite drunk, pressures Arthur into meaningless sex, leading him to hope for a reconciliation. Fat chance.
Touted as a comedy, Dahlie’s debut is an exercise in schadenfreude that is not remotely funny.Pub Date: June 1, 2008
ISBN: 978-0-393-06617-3
Page Count: 256
Publisher: Norton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 2008
BOOK REVIEW
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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