A magnetic first novel combining wit, sex, and apocalyptic reverie.
A gripping account of the intricately woven mind of a teenager.
In small-town Minnesota, Colin is not much more than a troubled preteen with an older sister, Heather, who resents him (and everything else), an older brother, Paul, who has autism, parents who grow increasingly distant as time passes, friends he can’t rely on, and a budding, unruly sexuality. When his father commits suicide, Colin is forced to pick up the pieces of his broken family while contemplating both his own death and homosexuality. “It was impossible for a boy to just grow into a new face, a new body and skin….In the world he imagined, boys stepped out of their old skin and that was the end.” If only it were as easy as shedding an old skin for a new one. Simultaneously, Colin's mother, Diane, faces similar issues—though on an adult scale. She begins therapy sessions to deal with grief, picks up unhealthy habits, and gets significantly closer to Colin, neglecting her other two children. Colin and Diane quickly form a redoubtable duo—though much of their development happens when they are separated—that turns its back on societal expectations. For Diane, Colin is her peer—and vice versa. The result is intoxicating. Nathan has crafted an all-consuming novel in which topics like suicide, homosexuality, parenting, friendship, and psychology make up a precarious tableau in which readers can leave their own subjectivity behind and experience the world from Colin’s singular viewpoint. “Nobody caught the names he called himself. Nobody saw him put his hands together and nobody knew what god he prayed to, what promises he made. Nobody saw him unfold his hands and look at his wrists where the blood flowed fragile and breathless and blue….Nobody knew was he was thinking.”
A magnetic first novel combining wit, sex, and apocalyptic reverie.Pub Date: Feb. 20, 2018
ISBN: 978-1-55597-798-6
Page Count: 296
Publisher: Graywolf
Review Posted Online: Dec. 23, 2017
Kirkus Reviews Issue: Jan. 15, 2018
BOOK REVIEW
BOOK REVIEW
PROFILES
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
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
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