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TRIADS

For the adventurous, then: wonderfully well told.

Expanded from a novella that first appeared in Douglas E. Winter’s anthology Revelations (1997), the silkily textured tale of two boys sold to a Peking Opera troupe is now a full-fledged transvestite fantasia.

In late-1930s Hong Kong, six-year-old Ji Fung is sold to the troupe by his crazy mother, who then murders the rest of the family and sets herself afire. Ji Fung falls in love with Lin Bai, a boy who plays women and is raped nightly by the company’s Master Lau. After several years, the Lucky Dragon café dismisses the troupe and turns to jazz. As Lau is about to kill Ji Fung, Lin Bai spears the master instead, and the boys hide out. They fall in with Perique, a wealthy French-Chinese hedonist, and later uncle Gong Sut Fo, a top Triad mobster, rescues Ji Fung from gangsters and gives him a job: he must deliver a lacquered box to Shanghai. But in Shanghai, Ji Fung, Lin Bai (in drag), and Perique are at a jewelry counter when falling bombs kill Perique, embedding his handsome face and eyes with diamonds, emeralds, and slivers of crystal: “Precious stones glittered in the flayed meat of his cheeks.” Lin Bai dies of his wounds, and Ji Fung leaves for Hollywood. By 1945, he’s an Asian bit player who tends bar on weekends, fights his emptiness, and lusts after transvestite café singer Tansy Chan. Tansy (Victor) is only one of many cross-dressers, including hard-boiled mystery screenwriter Blake Blackline (really Nan Blake), who skulk across the page as the novel shifts into artfully bloody Hollywood noir, while weaving in unflinching depictions of bigotry against gays and Asians. Then the story leaps into the present. Be warned: graphic sex splits the page and puts an Eastern shimmer on a boy’s “silken muscle”; it won’t be to everyone’s taste.

For the adventurous, then: wonderfully well told.

Pub Date: May 3, 2004

ISBN: 1-931081-40-9

Page Count: 200

Publisher: Subterranean Press

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: March 1, 2004

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A LITTLE LIFE

The phrase “tour de force” could have been invented for this audacious novel.

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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

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THE CATCHER IN THE RYE

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

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