Not the best of Wilson’s canine stories.


Wilson (A Man of His Own, 2013, etc.) again goes to the dogs to explore fractured lives, this time adding crime to the mix. 

The dog is nameless and spends half the book roaming feral in the woods near Harmony Farms, Massachusetts. Symbolism, no doubt, for Cooper Harrison and Natalie Everett, romantic protagonists, are each foundering in emotional loss. Cooper’s on PTSD medical leave from the Boston police department after a madman’s explosion that killed his police K-9, Argos,the perfect work dog and companion. Ex–Wall Streeter Natalie has retreated to Second Hope Farm, a horse-rescue operation, to cope with her husband Marcus’ death. The nameless dog was peppered by an ill-tempered duck hunter, the town’s bigwig, and it's Cooper’s job to corral it, having signed on as temporary animal control officer. Cooper at first doesn’t want the job back in the place where he’s known as the the town drunk’s kid: Bull Harrison, "a lumbering shaggy dog of a man, " came back from Vietnam and took to the bottle in a ramshackle house on Poor Farm Road. Worse, Cooper’s estranged brother is just out of Walpole Prison. Cooper’s "spent far too many years of my professional career working to put people like my brother behind bars." Now he’s rounding up Cutie Pie, a pet donkey. It’s Lifetime movie material—easily readable, emotion-wracked drama about love lost and found—with one-size-fits-all characters like bachelor farmer/surrogate uncle Deke, crazy cat lady Polly and goth-chick shelter assistant Jenny. The feral dog is tamed, Bull falls off the wagon and climbs back on with Cooper’s help, and the rich guy gets his comeuppance.

Not the best of Wilson’s canine stories.

Pub Date: March 24, 2015

ISBN: 978-1-250-01434-4

Page Count: 352

Publisher: St. Martin's

Review Posted Online: Jan. 8, 2015

Kirkus Reviews Issue: Jan. 15, 2015

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The phrase “tour de force” could have been invented for this audacious novel.

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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. 22, 2014

Kirkus Reviews Issue: Jan. 1, 2015

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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

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