A dreary tale of woe, with none of the dark places illuminated. (N.B.: Stephen King has done more than blurb the book. A...
The pain of the loser permeates actor/playwright McLarty’s first novel, part road story, part tragedy. It was released as an audiobook in 2000.
Vital statistics: Smithson Ide is 43, but he’s also 279 pounds, having survived for 20 years on beer and pretzels. He once weighed 121, running or biking everywhere. But now (it’s 1990) he’s a couch potato, single, living in a small Rhode Island town, working in a toy factory. As the story opens, his parents are killed in a car accident. They’d been a close-knit family, and he hates it that he’s drunk at the wake, drunk at the funeral. Then he learns that his older sister Bethany is in a Los Angeles morgue, and the shock impels Smithy to heave his fat self onto his childhood bike. His aimless start turns into a cross-country ride, and chapters alternate between his adventures on the road and Bethany’s sad history. Somewhere in her teens, she slipped into madness, posing stock-still for hours on end, or raking her skin, or speaking in a vile croak as if possessed by an alien spirit. Sometimes she’d just disappear. There were shrinks and hospital stays, and she recovered enough to date and marry, only to disappear for good on the honeymoon. Smithy has his own problems. He hates to touch or be touched. His only sex has been with ten-dollar whores in Vietnam, where he was badly wounded. Nam and Bethany were too much for him, and the beanpole became a porker filled with self-loathing. The long ride west is good for him, despite bizarre and improbable encounters (a dying AIDS patient, a gun-toting black man). Smithy stops drinking, loses 50 pounds, and is sustained by long-distance conversations with Norma, a wheelchair-bound former neighbor, every bit as lonely as Smithy. The two lost souls will come together in the Los Angeles morgue.
A dreary tale of woe, with none of the dark places illuminated. (N.B.: Stephen King has done more than blurb the book. A year ago, after he heard the audio version, he wrote a wildly enthusiastic piece for Entertainment Weekly. Immediately, there was a feeding-frenzy auction, huge advance, etc., etc.)Pub Date: Jan. 3, 2005
ISBN: 0-670-03363-4
Page Count: 360
Publisher: Viking
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 1, 2004
BOOK REVIEW
BOOK REVIEW
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
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
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