Amiable diversion, more Freaky Friday than Dorian Gray.
Wealthy middle-aged gay man depressed over his lost youth takes supernatural measures to swap bodies with a penniless young stud.
Still smarting over the breakup with his longtime lover Harry, 53-year-old Jack Ackerly is ready for a change. A cultured man of leisure living very comfortably off the proceeds of the sale of his advertising agency, Jack yearns for the carefree carnal existence he denied himself by not coming out until he was 30. In his desire to turn back the clock he seeks out Francesca LaBrash, a chatty witch who agrees to help him transfer his consciousness—if he can find another body willing to trade identities with him. Enter Corey, a 26-year-old sometime-waiter who Jack accidentally hits with his car. Corey, while undeniably hot, leads a life of dissipation, masking his low self-esteem and fear for his future in an endless stream of anonymous hook-ups. About to be evicted from his squalid apartment, he is exactly what Jack is looking for. Offering Corey his millions in exchange for his body, Jack and the financially desperate younger man seal the deal and Francesca works her magic. Needless to say, both men get far more than they bargained for when assuming each other’s lives. In Corey’s hard body, Jack prowls Chicago’s gay underworld making up for lost time with a wide array of one-night stands. Jack-as-Corey then sets his sites on seducing Harry, and bonds with Corey’s close friend Frida, a self-destructive young woman who needs a little tough love to turn her life around. Meanwhile, after getting past his dismay over his new body’s comparative decrepitude, Corey-as-Jack realizes that he has a chance—using Jack’s money and connections—to actually help people. Jack then starts to feel guilty for taking Corey’s youth, and rushes to reverse the spell just as Corey is struck down by a dance-related emergency in a disco. Rodi’s latest spoof (Bitch Goddess, 2001, etc.) at times reads like a commentary on the youth-centric superficiality of gay culture, but it is careful to leave a sweet aftertaste.
Amiable diversion, more Freaky Friday than Dorian Gray.Pub Date: June 1, 2007
ISBN: 978-07582-1533-8
Page Count: 432
Publisher: Kensington
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 15, 2007
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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