SILENT CLOSE No. 6

Winner of the 1992 Kleist Prize, the latest novel from Maron (Flight of Ashes, 1986, etc.) continues to probe the grim, repressed world of East Germany under Communist domination, this time from the perspective of a battered survivor. Rosa Polkowski has fallen on hard times in East Berlin—thanks to her decision not to continue in her pointless job as a researcher of fledgling Communist states in post-WW I Germany—when she meets an old man in a cafÇ whom she recognizes as one of the former Communist elite. In spite of her revulsion toward Professor Beerenbaum and what he represents, Rose is unable to reject his offer of employment as the transcriber of his memoirs. Coming to his fashionable home on a regular basis, she performs her task without comment—until a visitor unleashes Rosa's pent-up rage by agreeing with him that the Wall is an unfortunate necessity. Later, in order to contradict his honeyed reminiscences, she confronts him with a sordid memory that he would rather forget—the fact that he sent one of his junior colleagues at the university, now a friend of Rosa's, to prison for mailing a manuscript to the West—and sends the old man into a fit from which he never recovers. She attends his funeral feeling both duty-bound and vastly relieved, and is shunned by the family, but she receives from them the Professor's manuscript, as the troubled but true heir-apparent of his damning past. Relentlessly somber, rife with ambiguity, and with the day of the funeral used as a recurring theme, this is a bleak, biting reminder that the old Communist order has fallen but that its long shadow remains.

Pub Date: May 27, 1993

ISBN: 0-930523-93-8

Page Count: 192

Publisher: N/A

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: April 1, 1993

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

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A LITTLE LIFE

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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ONE DAY IN THE LIFE OF IVAN DENISOVICH

While a few weeks ago it seemed as if Praeger would have a two month lead over Dutton in their presentation of this Soviet best seller, both the "authorized" edition (Dutton's) and the "unauthorized" (Praeger's) will appear almost simultaneously. There has been considerable advance attention on what appears to be as much of a publishing cause celebre here as the original appearance of the book in Russia. Without entering into the scrimmage, or dismissing it as a plague on both your houses, we will limit ourselves to a few facts. Royalties from the "unauthorized" edition will go to the International Rescue Committee; Dutton with their contracted edition is adhering to copyright conventions. The Praeger edition has two translators and one of them is the translator of Doctor Zhivago Dutton's translator, Ralph Parker, has been stigmatized by Praeger as "an apologist for the Soviet regime". To the untutored eye, the Dutton translation seems a little more literary, the Praeger perhaps closer to the rather primitive style of the original. The book itself is an account of one day in the three thousand six hundred and fifty three days of the sentence to be served by a carpenter, Ivan Denisovich Shukhov. (Solzhenitsyn was a political prisoner.) From the unrelenting cold without, to the conditions within, from the bathhouse to the latrine to the cells where survival for more than two weeks is impossible, this records the hopeless facts of existence as faced by thousands who went on "living like this, with your eyes on the ground". The Dutton edition has an excellent introduction providing an orientation on the political background to its appearance in Russia by Marvin Kalb. All involved in its publication (translators, introducers, etc.) claim for it great "artistic" values which we cannot share, although there is no question of its importance as a political and human document and as significant and tangible evidence of the de-Stalinization program.

Pub Date: June 15, 1963

ISBN: 0451228146

Page Count: 181

Publisher: Praeger

Review Posted Online: Oct. 5, 2011

Kirkus Reviews Issue: June 15, 1963

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