LeFanu’s new anthology (Obsession, 1995—co-edited by Stephen Hayward) features 16 tales energized by the upbeat power of the ’60s preoccupation with death, dancing, and sex. Most of these stories accept the 1960s as a kind of paradigm of hedonism, examining what has happened to our perceptions of sex, drugs, and rock’n’roll in the years since. Laurie Colwin’s sunny, steeply uplifting “The Achieve of, the Mastery of the Thing” (from her 1981 collection, The Lone Pilgrim) nicely captures the ’60s first innocence and begins: “Once upon a time, I was Professor Thorne Speizer’s stoned wife, and what a time that was.” Colwin’s hash-laced reefer prose powerfully evokes a nostalgia for a time now thoroughly vanished, and is alone worth the price of the book. The other pieces offer a considerably more sardonic take on sex and salvation, tracing the ways in which reality has overtaken those by now long-ago expectations of transcendence, and illuminating what such things as sex, drugs, and fantasy mean to us now. John Saul’s conjugally delicious “Honeymoon” tells of a European couple in sex-addled Copenhagen who seem to be writing a handbook on 21st-century lovemaking based on their own research between the hotel sheets. The hallucinating young heroine of Joyce Carol Oates’s “A Woman Is Born To Bleed” has taken two tabs of LSD and feels like an eel being boiled, which is hardly the right time to face the huge fright of her first period. In “The Story of No,” Texan writer Lisa Tuttle probes the damage worked by forbidden lust/forbidden dreams, updating the famous porno classic The Story of O in nicely postmodern fashion. As Philip Larkin noted, sexual intercourse was invented in 1963. If, with the rock band Dr. Hook, you can sing of the ’60s that “I was stone and I missed it,” here’s a perfectly legal, nonparanoid way to recapture days that have disappeared over the hills like wild horses.
Pub Date: June 1, 1998
ISBN: 1-85242-538-5
Page Count: -
Publisher: Serpent’s Tail
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 1, 1998
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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