Taylor (The Lost Sister, 1989, etc.) tells the 1950's saga of a philandering Oklahoma father and the coming-of-age of his son—in nine interconnected stories that deal mostly with male sexuality and offer an incident-filled evocation of two archetypal lives. Bill Haynes is the father, Billy his son. Bill is a salesman (in his prime he sells high-school class rings, then, in his decline, textbooks) and, by his own account, an artist whose talent was ``compromised...before it could properly be developed.'' In ``The Girl I Left Behind Me'' and ``Dark Eyes,'' told from Bill's point of view, Taylor dramatizes a bleak life in dust-bowl Oklahoma: ``I have worked all my life. I have lost everything, a wife to another man, a job through no fault of my own, my son and daughters gone off to their own lives, and I've scratched my way back more than once.'' In the next six stories, told from son Billy's perspective, the family takes a vacation (``Sentimental Journey'') that is at first idyllic, then obsessive and argumentative; the parents separate; the father remarries twice and takes to hard drink (``Lady of Spain'') while Billy motor-scooters about town and, like his father, practices the accordion; ``The Tennessee Waltz'' not only introduces the clan (Texas, Tennessee) but also begins the sexual initiation of Billy that is consummated in the novella-length ``Golden Slippers,'' in which Billy, a shoe salesman (``the shoe is emblem and anthem of human folly''), meets Vernagene. In the final piece, ``Sweet Hour of Prayer,'' Billy attempts (in part through meditation) to come to terms with his father's collapse. The title story appeared in both the O. Henry Prize Stories and Best American Short Stories in 1987. Like that piece, the collection—managing by turns to be both gritty and lyrical—is a memorable one.
Pub Date: Sept. 1, 1992
ISBN: 0-945575-79-3
Page Count: 288
Publisher: Algonquin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 1992
BOOK REVIEW
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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