Ventura's typically overwrought prose (The Zoo Where You're Fed to God, 1994, etc.) here competes with the recent spate of films about the same subject—that modern-day Babylon in the desert, Las Vegas. As usual, Ventura overlays lots of gonzo theology and cool-guy posturing on a plot that doesn't live up to its noir pretenses. Mike Rose—short for Rossellini—is a true child of Vegas, the son of a showgirl and a gangster. A private investigator in his 40s, Rose knows where the bodies are buried. After all, his pop (``Eddie Maybe'') was a hit-man who went bonkers after participating in the biggest hit of his career—the cleanup to the Kennedy assassination, a job that led to his own disappearance. Rose can keep a secret, even though his mentally disturbed brother, Alvi, can't—he blames their strange family history, including some old porno made by his mother, for his own odd behavior. It's Alvi's loose talk, overheard on one of his brief stays at home from the loony bin, that leads to Rose's current mess. It turns out that the family's best friend, another gangster named Zig, saw to Eddie Maybe's demise, an act for which he hopes to atone by arranging his own death at Rose's hand. The current mob boss, Gino Lampedusa, wants Rose and his brother eliminated, but so does another character who seems to come from left field, a computer entrepreneur whose wife has hired Rose to hide a stolen disk. For all its complications, the plot doesn't add up to much; it's mostly an excuse for Ventura to indulge his ideas about the Vegas mythos (with Sinatra as godhead) and to rue the waning of the old days, symbolized by the Dunes being torn down. Ventura punctuates his narrative with lots of gangster how- to's and some tiresome conspiracy riffs, none of which compensates for a sluggish story.
Pub Date: Sept. 1, 1996
ISBN: 0-8050-3738-1
Page Count: 320
Publisher: Henry Holt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 1996
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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