Easier to lug around than its predecessors but with plenty of heft regardless.

SUBTLE BODIES

Rush’s third novel is an outlier—a slim book not set in Botswana—but his concerns with our carnal and intellectual lives remain pleasurably, provocatively intact.

The modern classic Mating (1991) and its 2003 follow-up, Mortals, were hothouse experiments in human behavior: Take a bright couple, drop them in a foreign milieu, and watch their primal instincts slowly emerge. This book does much the same thing, though it’s set in Rush’s native United States. At its center is Ned, a middle-aged activist who has hastened to the castlelike home of his college friend Douglas, who has died in a riding-mower accident. Following close behind is his wife, Nina, who is outraged at Ned for leaving just as she reaches the peak in her fertility cycle; she wants to conceive. Its life-and-death themes settled fast, the novel largely explores the personalities of Ned and three other friends of Douglas who have arrived for the memorial. Douglas was a lifelong provocateur, and in college, this clan was hellbent on undoing social norms, but reconvened, they largely have memories of old bons mots and a widow who’s trying to stage-manage the memorial to the last utterance. The setting is funereal, and Rush dwells much on the futility of warring against our natures, yet this book abounds in wit, particularly in its exploration of Ned and Nina’s marriage; alternating between their perspectives, Rush ping-pongs their thoughts about lust, love and accomplishment. The brevity of the story highlights its contrived setup—the everybody-stuck-in-the-castle arrangement has an unintentional whiff of an Agatha Christie mystery—and a subplot involving Douglas’ troubled teen son is left frustratingly unresolved. But this is a weaker novel only in comparison to Rush’s earlier triumphs. His skill at revealing our interior lives is undiminished.

Easier to lug around than its predecessors but with plenty of heft regardless.

Pub Date: Sept. 10, 2013

ISBN: 978-1-400-04250-0

Page Count: 256

Publisher: Knopf

Review Posted Online: Aug. 4, 2013

Kirkus Reviews Issue: Aug. 15, 2013

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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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A strict report, worthy of sympathy.

THE CATCHER IN THE RYE

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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