MARRYING MOM

Goldsmith follows The Bestseller (p. 768) with a light, contrived romance about a Jewish mother and her three unsettled children. Mom is Phyllis Geronomous (nÇe Phyllis Steen, so Geronomous seems a big improvement), and she lives in South Florida. While at 69, she's no longer young, she finds little appealing about the lifestyle of her many elderly neighbors, who restlessly patrol the local boardwalk and look forward only to early-bird dinners at the Rascal House. Dedicated to finding something a little less terminal, Phyllis bids farewell to her dead husband Ira at the cemetery—he doesn't answer, but he never said a lot when he was alive either—and returns to New York City to get into the hair of her unhappy children: Sigourney (nÇe Susan), a 40ish stockbroker whose business and love life are falling apart; gay Bruce, whose ``Queer Santa'' greeting-card line is failing and whose lover won't commit to marriage; and fat, whiny Sharon, whose husband Barney is a deadbeat. Guilty because she never had time to go to PTA meetings, Phyllis now wants to fix their lives. At the same time, they want her out of their hair and back with the palm trees. So, the three launch Operation Geezer Quest to find Phyllis a rich husband, complete with a Bergdorf Goodman makeover and a suite at the Pierre. Along the way, with enough Yiddish for a whole season of The Nanny, Phyllis doles out tough love and wise words. Finally, everyone's life is improved, and Mom begins her eighth decade with good sex, a large sapphire ring, and an offshore bank account in the Caymans. Some laughs and refreshing senior-citizen romance, but more like the outline for a TV sitcom than a novel. (Film rights to Paramount; Literary Guild Selection; $175,000 ad/promo; TV and radio satellite tours)

Pub Date: Nov. 20, 1996

ISBN: 0-06-018652-6

Page Count: 208

Publisher: HarperCollins

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Oct. 1, 1996

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TO KILL A MOCKINGBIRD

A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.

Pub Date: July 11, 1960

ISBN: 0060935464

Page Count: 323

Publisher: Lippincott

Review Posted Online: Oct. 7, 2011

Kirkus Reviews Issue: July 1, 1960

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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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