SPLIT IMAGE

As if in a dream, a washed-up Chicago playwright sleepwalks into murder, then into taking over the life of the man he killed. Nobody knows that Andrew Neville is staying in a friend's hunting cabin in Wisconsin when he gets into a trivial fight with a stranger that leaves the stranger dead. Afterward, Neville wipes out every sign of his presence from the cabin and heads back home without leaving any paper trail. Despite his lack of premeditation, he's committed the perfect crime, one that's left no trace at the crime scene or within Neville himself, who keeps waiting to feel remorse or horror but feels only a vague stirring of satisfaction and renewed purpose. When Neville realizes he'd known John Dempsey from a theater group years ago, he decides to attend his funeral, purloins Dempsey's display handkerchief from his decorously arrayed body, and introduces himself to Dempsey's lovely wife Claudia, an actress who's feeling more frozen out than ever by her in-laws. It's a romance made in hell, but Neville is perfectly willing to pursue it in his mild, circumspect way, even though Roland Scheiss, the horrid lawyer hired by the elder Dempseys to investigate their son's murder, makes it clear that he assumes Neville conspired with Claudia to kill her husband and intends to gather enough evidence to blackmail them for a sizable chunk of Dempsey's estate. It's obvious that Neville's state of trancelike equilibrium—as he ingratiates himself with a falcon Dempsey had been training and plots his theatrical comeback via a play of Dempsey's—can't last. But Dempsey's luminously understated narrative preserves a crystalline surface undisturbed by any ripple right up to the inevitable catastrophe, which is perhaps a bit too ironic for the generally hushed buildup. No matter. The spare, surrealistic mastery of just the right detail makes this Faust's most rewarding thriller since his return to fiction with In the Forest of the Night (1992).

Pub Date: June 13, 1997

ISBN: 0-312-86011-0

Page Count: 224

Publisher: Forge

Review Posted Online: April 26, 2011

Kirkus Reviews Issue: April 1, 1997

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

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A LITTLE LIFE

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

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A strict report, worthy of sympathy.

THE CATCHER IN THE RYE

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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