Tedious, relentlessly unfunny, and wholly predictable.
Federman (To Whom It May Concern, 1990, etc.) continues to explore the impact of the Holocaust on France, as well as the nature of fiction narrative.
Subtitled “a novel improvised in sad laughter,” Federman’s latest is a monologue spoken by a would-be novelist, Rémond Namredef (spell it backwards—get it?) to a “professional listener” who turns out to be a French Jew named Federman. Namredef is in Paris once again after ten years in the US, during which time he worked on an assembly line in Detroit, played jazz saxophone, and bummed around the country, finally living off a rich Bostonian by the name of Susan. Or so he says. He’s back in France now because he’s been unable to make a go of a writing career in America and is trying to sell his English-language novel about a novelist writing a novel while closeted with a year’s supply of pasta. The title? A Time of Noodles. The story he tells the listener (unnamed until the last few paragraphs) is a convoluted, digression-filled tale about his own Jewish family. His rich aunts and uncles survived the “Unforgivable Enormity,” as he calls it, by hiding in the free zone, while his own family was wiped out by the collaborators and the Nazis. Now he has also returned to taunt the relatives like a bad conscience. All of this is interspersed with a cascading babble (or Babel) of sexual episodes, scatological humor, and pontifications on art, literature, and French and American societies, delivered in a feverish mix of American slang speckled with French argot. The end product is an unholy mixture of Charles Bukowski, Henry Miller, and James Kelman, heavy on the pompous ponderousness of the former, without the wit or passion of the latter two.
Tedious, relentlessly unfunny, and wholly predictable.Pub Date: June 1, 2001
ISBN: 1-57366-093-0
Page Count: 280
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 2001
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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