A chronicle of obsession, self-indulgence, and, in a curious way, moral growth, expertly poised between realistic narrative and allegorical fable, from the author of such intriguing, if sometimes unduly gossamer, fictions as Edwin Mullhouse (1972) and In the Penny Arcade (1986). The eponymous Martin, a quiet, diligent youth who learns the rudiments of business practices as a clerk in his father's Manhattan cigar store in the 1890s, rises gradually to wealth and fame as bellhop and eventually second-in-command at a well-known New York hotel, then proprietor of his own cigar store, afterward a thriving lunchroom, and, before his 30th birthday, of the ultramodern Dressler Hotel and its even more successful successors, most notably the Grand Cosmo, ``a leap beyond the hotel,'' that incorporates elements of a traveling Chautauqua, a theme park, and even a hint of Madame Tussaud's Wax Museum. Millhauser gives equal weight—as never before in his fiction—to both the dreamlike nature of Martin's ambitions and progress, and the quotidian mechanics of achieving that success: The novel is built up from an amazing density of specific period detail that never for a moment seems oppressive or ostentatious. Millhauser also develops with great skill the relationships through which Martin realizes his own nature: those with business associates and mentors, and especially with ``the Vernon women,'' a mother and two adult daughters with whom he establishes an unconventional friendship, leading him to a profitable partnership and a disillusioning marriage. This strange story ends with Martin on the verge of ruin, having realized that ``he had dreamed the wrong dream, the dream that others didn't wish to enter,'' yet in no sense defeated, still enchanted, empowered- -and limited—by his dream. A fascinating and provocative portrayal of turn-of-the-century America tht hums with energy and wit. It might be another of Dreiser's densely packed tales of financiers and titans, written at characteristic white heat, but by an immeasurably more graceful stylist.
Pub Date: April 1, 1996
ISBN: 0-517-70319-X
Page Count: 192
Publisher: Crown
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 1, 1996
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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