It’s a pity Alfred Hitchcock isn’t around to direct the inevitable film version of this witty and intricate intercontinental thriller from the acclaimed historian (Maximum City: The Biography of New York, 1993) and fiction writer (The Drowning Room, 1996, etc.). Pye’s dazzling story begins with a clipped, brusque present-tense narration of the life and crimes of Martin Arkenhout, a 17-year-old Dutch student in the US who assumes the identity of an American boy he meets while traveling through Florida, after the latter is critically wounded by a hit-and-run driver and Martin phlegmatically finishes the job. Then, having discovered the advantages of being able to shed his identity at will, he continues to “take lives,” murdering, then “becoming” one acquaintance after another, until at last slipping into the skin and personal history of art teacher Christopher Hart: a “Seventeenth-century specialist, Dutch interests. A man trying to get noticed in the shadow of Simon Schama.” This newest life takes Arkenhout to Amsterdam, where he’s sighted by his mother (who informs the police), then to Portugal, where he’s tracked down and eventually confronted by John Michael Snell Costa, a Portugese-American “museum functionary” assigned to investigate Hart’s presumed theft of some invaluable illustrated manuscript pages. As Costa’s pursuit of “Hart” proceeds (the former having become, in one of the most dexterous twists here, the narrator), Pye skillfully expands the action to include a further investigation: into the reasons behind Costa päre’s return to his homeland, and the question of whether he had been an enemy of postwar dictator Salazar, or, instead, a member of Portugal’s notorious secret police. The pursuer becomes the quarry, and a climactic meeting with Arkenhout’s mother chillingly unlocks the key to her son’s opaque amorality. Tough as nails, and superbly constructed, with a lingering bitter aftertaste. This is about as good as literary thrillers get. (First printing of 50,000)
Pub Date: March 1, 1999
ISBN: 0-375-40260-8
Page Count: 304
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 1, 1999
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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