The climax and coda are a bit cinematic, but that doesn’t mar a fine story of men and women on the outskirts of the...


A New England town’s dying fishing industry clashes and converges with tourism and drug trafficking in this tale of fishermen who’ve fallen from grace with the sea.

The tide is definitely out for the town of Rosaline, where most people have relied on commercial fishing for generations. Now the waters have been overfished and a group of investors seeks to turn Rosaline into a tourist attraction as an old fishing port. Chalfoun (Roustabout, 1996) finely delineates her protagonists, with the up-in-arms townspeople providing choric support to members of the intertwined Fitz and Albin families. John Fitz and Chris Albin are childhood friends who fish off a boat belonging to John’s father. John’s lover is Yve, Chris’s younger sister, and Yve’s best friend is Kate Albin, Chris’s wife. The hitch in this cozy circle is that Chris is a junkie, and he’s only reliable when out at sea—and then only when John doles out his stash to him. Soon they find their loyalties to each other and their way of life tested when a crew of sailors arrives with a wreck of a schooner that, after renovation, will be Rosaline’s showpiece tourist attraction. While the sailors, and a few townspeople, set about to restore the schooner, Yve takes a job as their cook—resulting in the usual tensions. The real drama here, though, unfolds after a federal bureaucrat lays out the no-fishing regulations and offers the fishermen a buyout for their boats. Unfortunately, the Fitzes are mortgaged to the hilt and the buyout will only benefit their creditors, but Chris has a plan. In a dialogue with echoes of the Grand Inquisitor about it, he persuades John to convince his father to use their boat for heroin smuggling. And that’s when things really go awry.

The climax and coda are a bit cinematic, but that doesn’t mar a fine story of men and women on the outskirts of the information society.

Pub Date: May 9, 2001

ISBN: 0-06-019908-3

Page Count: 336

Publisher: N/A

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 15, 2001

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The phrase “tour de force” could have been invented for this audacious novel.

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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. 22, 2014

Kirkus Reviews Issue: Jan. 1, 2015

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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

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