Despite some dark moments, more honey than vinegar.
A wonderfully written debut that rather scants its subject of loss and discovery—a young girl searching for the truth about her dead mother—in favor of a feminist fable celebrating the company of women and the ties between that mothers and daughters.
The prose is lapidary, the characters diverse, and the story unusual as it crosses the color line, details worship of a black Virgin Mary, and extensively describes the lives and keeping of bees. But despite these accomplishments, the fabulist elements (bees as harbingers of death, a statue with healing powers) seem more whimsical than credible and ultimately detract from the story itself. Lily Owens, just about to turn 14, narrates this tale set in South Carolina during July 1964. Since her mother died when she was four, Lily has been raised by African-American Rosaleen and by her sadistic father T. Ray Owens, a peach farmer who keeps reminding Lily that she killed her mother. When Rosaleen is arrested and beaten for trying to vote, Lily springs her from the hospital, and they head to the town of Tiburon because its name is on the back of a cross that belonged to Lily’s mother. On the front is a picture of a black Madonna who can also be seen on the labels of jars of honey produced in Tiburon by local beekeeper Augusta Boatwright. Certain the secret to her mother’s past lies in Tiburon, Lily persuades Augusta to take them in. As the days pass she helps with the bees; meets handsome young African-American Zach; becomes convinced her mother knew Augusta; and is introduced to the worship of Our Lady of Chains, a wooden statue of Mary that since slavery has had special powers. By summer’s end, Lily knows a great deal of bee lore and also finds the right moment to learn what really happened to her mother.
Despite some dark moments, more honey than vinegar.Pub Date: Jan. 14, 2002
ISBN: 0-670-89460-5
Page Count: 320
Publisher: Viking
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 15, 2001
BOOK REVIEW
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 first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.
Pub Date: July 11, 1960
ISBN: 0060935464
Page Count: 323
Publisher: Lippincott
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: July 1, 1960
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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