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GOOD ON PAPER

In this feat of a novel, knowledge is a tiny first step on the way to understanding.

A translator struggles to redefine her work, her family, and her sense of self.

Translation, done well, is less an act of comprehension than one of empathy—the translator must enter the writer’s head and decipher not only her words, but her intention. In Cantor’s (A Highly Unlikely Scenario, 2014) skillfully structured second novel, dilettante temp and single mom Shira Greene approaches translation work in stages: first she retypes, then she handwrites, scans for rhythm, takes notes, builds a lexicon, and ultimately throws the draft away before starting “the real business of translation, trusting that everything I’d noted had sunk into my cells.” Shira handles her relationships in a similarly convoluted way, dancing around and into them in bursts before stepping back to take stock. This tends to cause a fair amount of chaos, especially for her young daughter, Andi, and her old friend and surrogate co-parent, Ahmad, whose home they share. When Shira gets a telegram from a Nobel-winning poet about what seems like a dream translation project, she dives in despite the strangeness and reticence of the author. As his manuscript trickles in via fax, each section more impossible than the last, Shira’s personal life becomes just as tangled: Andi, feeling neglected, starts to act out; Ahmad, critical of Shira’s laissez faire parenting, threatens drastic measures; and Benny, a charmingly flawed rabbi and bookstore owner, seduces and rejects her in turns while hiding his own Noah-worthy flood of secrets. It’s a lot to absorb, but don't hesitate to try—Cantor clearly loves her characters, and she shows true mastery of their inner lives. Between endearingly wonky riffs about translation, she offers full access to Shira’s roller coaster of emotions, the collisions of her past and present, and keeps us hanging on through every curve. You’ll want to reread the final chapters more than once, delighted anew each time by how well Cantor speaks our language.

In this feat of a novel, knowledge is a tiny first step on the way to understanding.

Pub Date: Jan. 26, 2016

ISBN: 978-1-61219-470-7

Page Count: 320

Publisher: Melville House

Review Posted Online: Sept. 23, 2015

Kirkus Reviews Issue: Oct. 1, 2015

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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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