Though it honors Edward’s urging to slip “beneath the surface,” Gamble’s effort, albeit worthy, doesn’t go deep enough.
Recovering alcoholic returns to her ancestral cottage to confront family ghosts, in Gamble’s second (The Water Dancers, 2003).
Maddie Addison has been estranged from her family for 11 years, since her infant daughter died of SIDS at the family summer home and she fell into despair, awash in booze. With the help of Ian, her filmmaking partner and best friend, she joined AA and has attained relative serenity in Manhattan. Now, however, she has been summoned back to the Aerie, a massive, ramshackle residence on Sand Isle in Upper Lake Michigan, a private island resort for the descendants of Midwestern oligarchs, including the Addisons, founders of a shampoo and cold-remedy empire. Maddie’s widowed mother, Evelyn, paying the wages of her inveterate tippling, is moribund after a stroke, and Maddie has returned for a final reckoning with her. But since her mother is now physically as well as emotionally incommunicado, Maddie must make do with exorcising her unresolved passion for her twin cousins, Derek and Edward, and parsing the strangeness of anorexic, guru-besotted cousin Adele. The story’s second part recaps Maddie’s youth—Aerie summers, when she trails Great-Grandmother Addie’s ghost, bundles in an upstairs room with Edward, who may or may not have whacked her pet chipmunk, and joyrides with wild-child sister Dana in the family station-wagon. She attends Harvard and NYU, blows her chance of marrying plastic-bag scion Jamie, marries fellow cineaste Angus instead, has his child. Back in 1999, she catches her niece Jessica and Derek’s son Beowulf flirting with kissing-cousin-dom and is bemused by cousin Sedgwick’s functioning drunkenness and Dana’s straitlaced Catholicism, overcompensation for a hush-hush abortion years before. As for Edward, he’s long since disappeared into madness after a stint in Vietnam. In all, Evelyn remains a cipher but so does Maddie, while Gamble skirts or underplays money and class issues, and genteel punch-pulling deflates any potential conflict.
Though it honors Edward’s urging to slip “beneath the surface,” Gamble’s effort, albeit worthy, doesn’t go deep enough.Pub Date: June 1, 2005
ISBN: 0-06-073794-8
Page Count: 336
Publisher: Morrow/HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 2005
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 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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