The flabby plot is encrusted with jewels on every page. And if the race for city council can barely hold the candidate’s...

TUFF

Beatty follows up the scorched-earth Afro-American satire of The White Boy Shuffle (1996) with an equally antic look at a brother from East Harlem who runs for City Council.

A tree grows in Brooklyn, but it’s no place for Winston (Tuffy) Foshay, first glimpsed coming around from a fainting fit that providentially took him out of the line of fire that terminated both his employment and his employers in a drug den in The Other Borough. What Winston needs, he soon decides, is some comforts a little closer to home: the loving arms of his wife Yolanda, joined to him in holy matrimony via a dial-a-preacher conference call to his prison ward; the inarticulate embraces of his son Bryce Extraordinaire (Jordy) Foshay; the bemused guidance of his fledgling Big Brother, Rabbi Spencer Throckmorton; the usual round of good-natured tussling with the men and women of East 109th Street; and maybe a political fling. The mad idea is Winston’s; the mad money behind it ($15,000, which he thinks of as three months of summer work at $5,000 a month) comes from aging Japanese activist Inez Nomura; but the waggish campaign slogans and strategies seem to sprout from every street corner in the ’hood. Billing himself as “ambivalent on drugs, guns, and alcohol in the community, against cats in the supermercados,” and “anti-cop, anti-cop, anti-cop,” Winston, who knows everyone in the district, doesn’t seem to ignite much more fervor than Steve Forbes, his equally surreal real-life opposite. Even Beatty himself seems no better able than his short-attention-span hero to focus on the election, which keeps getting elbowed aside by rollicking riffs on three-card monte, tales of inner-city white ethnics and black transvestites, and a gorgeous black/Jewish insult match.

The flabby plot is encrusted with jewels on every page. And if the race for city council can barely hold the candidate’s attention, that’s the punch line of Beatty’s richest joke. (First printing of 40,000)

Pub Date: May 4, 2000

ISBN: 0-375-40122-9

Page Count: 272

Publisher: Knopf

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 15, 2000

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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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Less bleak than the subject matter might warrant—Hannah’s default outlook is sunny—but still, a wrenching depiction of war’s...

HOME FRONT

 The traumatic homecoming of a wounded warrior.

The daughter of alcoholics who left her orphaned at 17, Jolene “Jo” Zarkades found her first stable family in the military: She’s served over two decades, first in the army, later with the National Guard. A helicopter pilot stationed near Seattle, Jo copes as competently at home, raising two daughters, Betsy and Lulu, while trying to dismiss her husband Michael’s increasing emotional distance. Jo’s mettle is sorely tested when Michael informs her flatly that he no longer loves her. Four-year-old Lulu clamors for attention while preteen Betsy, mean-girl-in-training, dismisses as dweeby her former best friend, Seth, son of Jo’s confidante and fellow pilot, Tami. Amid these challenges comes the ultimate one: Jo and Tami are deployed to Iraq. Michael, with the help of his mother, has to take over the household duties, and he rapidly learns that parenting is much harder than his wife made it look. As Michael prepares to defend a PTSD-afflicted veteran charged with Murder I for killing his wife during a dissociative blackout, he begins to understand what Jolene is facing and to revisit his true feelings for her. When her helicopter is shot down under insurgent fire, Jo rescues Tami from the wreck, but a young crewman is killed. Tami remains in a coma and Jo, whose leg has been amputated, returns home to a difficult rehabilitation on several fronts. Her nightmares in which she relives the crash and other horrors she witnessed, and her pain, have turned Jo into a person her daughters now fear (which in the case of bratty Betsy may not be such a bad thing). Jo can't forgive Michael for his rash words. Worse, she is beginning to remind Michael more and more of his homicide client. Characterization can be cursory: Michael’s earlier callousness, left largely unexplained, undercuts the pathos of his later change of heart. 

Less bleak than the subject matter might warrant—Hannah’s default outlook is sunny—but still, a wrenching depiction of war’s aftermath.

Pub Date: Jan. 31, 2012

ISBN: 978-0-312-57720-9

Page Count: 400

Publisher: St. Martin's

Review Posted Online: Dec. 19, 2011

Kirkus Reviews Issue: Jan. 1, 2012

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