Pashman debuts with this precise and troubling portrait of a smug and cultured man who doesn't recognize his own despair. Nathan Kline is an ophthalmologist on the way up: He has the right credentials, a Park Avenue practice, and a carefully cultivated appreciation of music, food, and painting. When he spots Carla, a fresh-faced college student, in an elevator, he pegs her as a thoroughbred and wants her for his wife. He writes her a letter introducing himself; her parents, impressed by his rÇsumÇ and his vocabulary, urge her to accept a date. And though Carla never feels more than mild affection for him, she bows to popular opinion and marries him. In short order, Nathan comes to find his wife inscrutable, her quirks unpleasant, her neuroses worthy of contempt. Still, there are consolations: He rakes in grant money to conduct research that a loyal assistant designs; he has a chain of extramarital affairs; his practice flourishes; his form on the ski slope is admirably crisp. Years go by. He has two daughters and is surprised and pleased by their affection; he goes to concerts; he disappoints his marriage-minded lovers by not leaving his wife. Nathan's realizes, though, that his body is aging; the prospect of open-heart surgery makes him briefly aware of the extent to which he never understood his patient's fears. In despair, he calls Vera, the ex-lover of a friend: She's intelligent, self-possessed, and alive, and he begins to fantasize about a new beginning. But ultimately the familiar inertia prevails, and he remains tied to Carla. Nathan is a memorable character, restless in his ambitions but remarkably unable to reflect on what he lacks or to value what he has. A vivid cautionary tale, then, about the seductions and emptiness of a life in which conquest stands in for love.
Pub Date: Aug. 1, 1997
ISBN: 1-877946-86-9
Page Count: 208
Publisher: Permanent Press
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 1, 1997
BOOK REVIEW
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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