A lightweight novel that’s paradoxically both earthy and frothy.
Actor Tucker, best known for his work on L.A. Law, writes his first novel—about an actor who loses his beloved wife to cancer, though hints of a May-December romance are in the wings.
Herbie Aaron and his wife Annie have been a celebrity couple over many long years, but Annie is now facing her final curtain. Herbie deals with this in part by hitting the bars pretty hard, and in one he notices Olive, a bartender who’s a knockout but who’s also young enough to be his daughter. He tells Annie about Olive, and Annie insists on meeting her. When the inevitable happens and Annie dies, Herbie gets in touch with his agent to help Olive land a job—somewhat implausibly—as an actress, and despite the prodigious unemployment rate among professional actors, Olive lands a job in Uncle Vanya, albeit in Rochester rather than on Broadway. Meanwhile, Herbie copes by heading to South Carolina to play some golf and reminisce about the good times he had with Annie. While trying to master the intricacies of a game he doesn’t even like, he hires Billy (a woman) to improve his skill on the links, but because Billy is a lesbian, Herbie wisely senses the unlikelihood of romance from that quarter, though Billy’s sister Roxanne is another story. Every evening, however, he gets a phone call from Olive, who gives progress reports on her rehearsals with a hot-shot young director and a lead actor who seems to be having psychotic episodes—or is he merely an actor who pretends to have psychotic episodes to juice up his role as Vanya? By the end we’re led to believe that despite his loyalty to Annie, Herbie might in fact find a life with Olive.
A lightweight novel that’s paradoxically both earthy and frothy.Pub Date: March 1, 2012
ISBN: 978-1-59020-735-2
Page Count: 224
Publisher: Overlook
Review Posted Online: Dec. 28, 2011
Kirkus Reviews Issue: Jan. 15, 2012
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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