Pointed, but colorless.
Muted story of a frustrated interracial relationship.
Edmund, a white corporate grind, is friendless and habit-driven. Careese is a young, homeless, African-American woman struggling to overcome her addictions. When Edmund notices Careese on his way home one evening, he impetuously invites her to stay in his apartment. Out of desperation, Careese warily accepts his offer. There, Edmund helps Careese learn basic job skills, and Careese cooks for Edmund, providing companionship in his sterile and passionless life. The differences between the two are obvious—perhaps even slightly understated in this otherwise unremittingly naturalistic story—but Laser (Old Buddy Old Pal, 1999, etc.) also creates crucial parallels between the two. Both Careese and Edmund have vexed relationships with their respective daughters, and neither has any real understanding of their emotional needs. Careese is nervous that Edmund expects sex, and Edmund is nervous that Careese might feel obligated to sleep with him, and, indeed, an affair begins. It starts slowly—Careese does not really love Edmund, Edmund loves the idea of Careese more than the woman herself—and peters out quickly. In a coda, we see that they have managed to heal themselves, and it’s clear that Careese is well over Edmund, who has gone from self-absorbed technocrat to narcissistic white liberal. Laser deftly switches perspective between Careese and Edmund, and his empathy for Edmund—his vague desire to find a more exciting life, his suspicion that he isn’t attractive enough for Careese—is palpable. Laser also explores the subtler inequalities between his characters: Careese’s pity for Edmund and Edmund’s fear that he is pitied, for example, are brutal and nuanced. But ultimately, the parts don’t add up, leaving the story simply unbelievable. Conspicuously absent is any consideration of the racial tensions that affect these characters’ emotional lives.
Pointed, but colorless.Pub Date: Sept. 30, 2006
ISBN: 1-57962-132-5
Page Count: 232
Publisher: Permanent Press
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 2006
A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.
Pub Date: July 11, 1960
ISBN: 0060935464
Page Count: 323
Publisher: Lippincott
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: July 1, 1960
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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
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