A fast-paced, multilayered story of seaside murders separated by three centuries.
Two women murdered in Marblehead, Massachusetts, 301 years apart—one in 1690 and the other in 1991—would seem to have nothing in common, but Goodwin ties both together in her novella.
Goodwin (Atlantis, 2006) deftly toggles between both murders. The first involves an unknown English woman who was taken ashore by pirates in 1690 and savagely abused and murdered. The second occurred in 1991; a woman went for an afternoon’s sail with a neighbor who ended up killing her. In both tales, the author establishes a strong undercurrent of tension and horror, which upsets the daily activities—breadmaking in the 17th century and filmmaking in the 20th—of this normally placid coastal town. Marblehead is a palpable presence here; Goodwin infuses the book with the maritime influences of the area without turning it into a travelogue. Supernatural elements, used sparingly but effectively, occur in both storylines. In one, a character has prophetic dreams, and in the other, a woman can see into the future. Occasionally, and this is a minor quibble, Goodwin relies too heavily on dialect in the dialogue, such as: “Oooh, never will Lizzie ‘low my rise in w’ her’n, now t’is sticks n’ stones to break thy teeth on.” It makes the characters sometimes hard to understand. Usually, however, Goodwin’s prose is sharp and descriptive, invoking vivid word pictures: “Karen stepped over her, agile and light as a cat, with her long, coppery legs in frayed Patagonias.” Although it frequently switches back and forth between the narratives, the novel coheres. The result is a suspenseful book in which both stories hurtle to their tragic conclusions.
A fast-paced, multilayered story of seaside murders separated by three centuries.Pub Date: Feb. 1, 2012
ISBN: 978-0615587240
Page Count: 162
Publisher: Plum Press
Review Posted Online: May 15, 2014
Kirkus Reviews Issue: July 1, 2014
Review Program: Kirkus Indie
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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