While there are a few genuine surprises along the way, most of Amidon’s (Security, 2009, etc.) twists are telegraphed so far...
A few nights of passion ignite a man’s obsession for a mysterious woman in this tale of uncertain identities.
Recently fired from his longtime job at a prestigious left-wing charity for playing Robin Hood with funds that didn’t belong to him, Michael Coolidge is slowly sinking into the depths of depression. His wife has left him, taking their teenage son, and now Michael spends his days drinking and moping around the sleepy upstate New York town of Annville. Things start looking up the night he meets the beautiful Justine in a bar. The two start talking—she tells him she's part of the New York City art gallery scene in town on behalf of a rich client; then one thing leads to another, and Michael finds himself blissfully ensconced in a “staycation” with the sultry Justine. She speaks solely in generalities he finds sexy and the reader finds annoying and also immediately suspicious—only Michael is surprised when she disappears after four days, leaving behind an incomplete phone number and no last name. Nine months later, he sees her again in the company of a man, photographer Desmond Tracey, who soon turns up dead of a suspected drug overdose. Michael, determined to rescue his damsel in distress, digs into the photographer’s past and, making multiple improbable leaps of logic, pieces together a traumatic history for Justine—obviously not her real name—that’s entwined with the power players of Annville.
While there are a few genuine surprises along the way, most of Amidon’s (Security, 2009, etc.) twists are telegraphed so far in advance that it’s a wonder the characters don’t see them coming.Pub Date: Sept. 15, 2015
ISBN: 978-1-60598-865-8
Page Count: 256
Publisher: Pegasus
Review Posted Online: June 30, 2015
Kirkus Reviews Issue: July 15, 2015
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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