Bleached of genuine drama or human interest, an excellent driving-in-the-car-while-looking-for-parking-place-near-the-beach...
Shea’s lackluster fourth (Lily of the Valley, 1999, etc.) follows a woman’s recollection of a formative summer on a pony farm—when her best friend kidnapped a baby and stole her boyfriend.
With bland prose that expends itself in quantities far more impressive than the simple points it tries to make, Shea introduces 40-ish Robyn Panek as she returns to her Uncle Pal’s horse farm in Massachusetts to sell the old place. Uncle Pal, widowed for some years, has recently fallen ill and is intent on getting rid of it. Shea stirs memories as Robyn recalls the girlhood summer she spent on the farm, when the overbearingly named Lucy Dragon, a distant relative, showed up for a visit in the aftermath of a suicide attempt. Robyn asserts that this had been shocking for her, but Shea never really gives the reader a feel for it, aside from some stale “I remember I went to a mental institution once and it was scary” anecdotes from Lucy. Robyn had also been in love with goodhearted Frankie, the delivery boy from the local dairy, and shortly after Lucy arrived, she began flirting with him. Lucy then snatched a nearby baby and hid out with Frankie for a few days, until the three of them were caught. Robyn fled, but two decades later, Lucy herself, now an established realtor, shows up to help sell the farm. She’s in a giving-something-back sort of mood and confides to Robyn that she’d been pregnant, had been forced to give the child up for adoption, and was feeling some baby-yearning that summer. Frankie shows up, too, tells Robyn the dark secret of hiding with Lucy, and owns up to the fact that he’s still in love with Robyn. They get together, but one morning both the prized horses and Lucy go missing. Mad reenactment of a past horror? Not to worry: Lucy’s been swinging a sweet deal that leaves everyone happy.
Bleached of genuine drama or human interest, an excellent driving-in-the-car-while-looking-for-parking-place-near-the-beach read.Pub Date: July 10, 2001
ISBN: 0-7434-0375-4
Page Count: 352
Publisher: Pocket
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 15, 2001
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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