Robertson’s novel in verse joins a tradition that includes Louis Zukofsky, Edgar Lee Masters, and Ed Sanders, and it doesn’t...


Scottish poet Robertson serves up an epic poem of homelessness, dislocation, and inequality—set not today, though it could have been, but instead in the years after World War II.

Walker: It’s a good name for the protagonist, who “walks. That is his name and nature.” A Canadian washed up on the shores of Manhattan, he walks among ghosts, among anonymous people who wanted simply to be anonymous, “not swallowed whole, not to disappear,“ though that is what the city does to people. Walker is trying to shake off his wartime experiences, having landed at Normandy on D-Day and fought his way far inland; he spends his days in taprooms, his nights waiting watchfully for nightmares. A year passes, then another, and he makes his way west to Los Angeles, his fortunes not having improved much; as a fellow traveler says to him, meaningfully, “Just look at us now: two heroes in a hostel on Skid Row.” Walker finally pulls out of it in a Los Angeles whose pulse is that of movies such as The Naked City and The Big Clock; Robertson’s skillful weaving of cinematic history into a storyline that embraces hard-boiled journalism, the paranoia of the McCarthy era, and a kind of reflexive if sometimes-ironic nationalism that has never disappeared (“this here is the City of the Angels, Tinseltown, sit-yoo-ated / in the Land of the Free and the Home of the Brave”) makes for juxtapositions that are sometimes unexpected but just right. Walker finally lands a job as a reporter, but, as Robertson makes clear, that only serves to accelerate his search among the hard-bitten, the hard-drinking, and the homeless for some missing part of himself, all the while against the hallucinatory backdrop of movies like Edward Dmytryk’s The Sniper and tableaux like a rotting, beached humpback whale, “one pectoral fin stretched up like a sail."

Robertson’s novel in verse joins a tradition that includes Louis Zukofsky, Edgar Lee Masters, and Ed Sanders, and it doesn’t suffer by comparison.

Pub Date: Nov. 20, 2018

ISBN: 978-0-525-65521-3

Page Count: 256

Publisher: Knopf

Review Posted Online: Oct. 28, 2018

Kirkus Reviews Issue: Nov. 15, 2018

Did you like this book?

No Comments Yet


While a few weeks ago it seemed as if Praeger would have a two month lead over Dutton in their presentation of this Soviet best seller, both the "authorized" edition (Dutton's) and the "unauthorized" (Praeger's) will appear almost simultaneously. There has been considerable advance attention on what appears to be as much of a publishing cause celebre here as the original appearance of the book in Russia. Without entering into the scrimmage, or dismissing it as a plague on both your houses, we will limit ourselves to a few facts. Royalties from the "unauthorized" edition will go to the International Rescue Committee; Dutton with their contracted edition is adhering to copyright conventions. The Praeger edition has two translators and one of them is the translator of Doctor Zhivago Dutton's translator, Ralph Parker, has been stigmatized by Praeger as "an apologist for the Soviet regime". To the untutored eye, the Dutton translation seems a little more literary, the Praeger perhaps closer to the rather primitive style of the original. The book itself is an account of one day in the three thousand six hundred and fifty three days of the sentence to be served by a carpenter, Ivan Denisovich Shukhov. (Solzhenitsyn was a political prisoner.) From the unrelenting cold without, to the conditions within, from the bathhouse to the latrine to the cells where survival for more than two weeks is impossible, this records the hopeless facts of existence as faced by thousands who went on "living like this, with your eyes on the ground". The Dutton edition has an excellent introduction providing an orientation on the political background to its appearance in Russia by Marvin Kalb. All involved in its publication (translators, introducers, etc.) claim for it great "artistic" values which we cannot share, although there is no question of its importance as a political and human document and as significant and tangible evidence of the de-Stalinization program.

Pub Date: June 15, 1963

ISBN: 0451228146

Page Count: 181

Publisher: Praeger

Review Posted Online: Oct. 5, 2011

Kirkus Reviews Issue: June 15, 1963

Did you like this book?

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

Our Verdict

  • Our Verdict
  • GET IT

  • Kirkus Reviews'
    Best Books Of 2015

  • Kirkus Prize
  • Kirkus Prize

  • National Book Award Finalist


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. 22, 2014

Kirkus Reviews Issue: Jan. 1, 2015

Did you like this book?

No Comments Yet