Realistic submarine suspense, set in WW II, by Taylor (Monocolo, 1989; The Stalker, 1987), who's also written a number of YA novels (The Weirdo, The Cay, etc.). An exercise in simultaneity, this leaps from scenes aboard a Nazi U-boat to scenes on freighters sailed by American merchant mariner Sully Jordan to scenes in Lorient, France, where the Resistance works against the Occupation. At first, the US has not yet entered the war, but its lend-lease vessels carrying tonnage for the British are being sunk ever more rapidly by German U-boats, especially one captained by glory-obsessed Horst Kammerer. On his conning tower are painted two brilliant, snarling leopards that become more and more feared. Meanwhile, Sully has two tankers blown away beneath him, the first when his tanker enters the Death Hole— a section of the North Atlantic unprotected by air cover and where debris from sunken ships floats everywhere. His father accompanies him on the second ship and freezes to death in a lifeboat after father and son survive another sinking. Sully himself is badly nipped by frostbite, losing his ears, some fingers and toes. He returns to the sea as master of a Navy Q-boat, a tanker redesigned as a warship and used as bait to attract a submarine within range of its masked guns. Back at the big Nazi submarine base at Lorient, Kammerer unwarily gives information to his French mistress, who passes it on to the British, who can then track ``The Leopard.'' Creaks with seagoing detail, weather, storms, and battle at sea. This may not be The Cruel Sea, but it has its spell. You really are there.
Pub Date: June 1, 1993
ISBN: 0-15-124097-3
Page Count: 288
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 1993
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
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This large, stately, and intensely powerful new novel by the author of Terms of Endearment and The Last Picture Show is constructed around a cattle drive—an epic journey from dry, hard-drinking south Texas, where a band of retired Texas Rangers has been living idly, to the last outpost and the last days of the old, unsettled West in rough Montana. The time is the 1880s. The characters are larger than life and shimmer: Captain Woodrow Call, who leads the drive, is the American type of an unrelentingly righteous man whose values are puritanical and pioneering and whose orders, which his men inevitably follow, lead, toward the end, to their deaths; talkative Gus McCrae, Call's best friend, learned, lenient, almost magically skilled in a crisis, who is one of those who dies; Newt, the unacknowledged 17-year-old son of Captain Call's one period of self-indulgence and the inheritor of what will become a new and kinder West; and whores, drivers, misplaced sheriffs and scattered settlers, all of whom are drawn sharply, engagingly, movingly. As the rag-tag band drives the cattle 3,000 miles northward, only Call fails to learn that his quest to conquer more new territories in the West is futile—it's a quest that perishes as men are killed by natural menaces that soon will be tamed and by half-starved renegades who soon will die at the hands of those less heroic than themselves. McMurtry shows that it is a quest misplaced in history, in a landscape that is bare of buffalo but still mythic; and it is only one of McMurtry's major accomplishments that he does it without forfeiting a grain of the characters' sympathetic power or of the book's considerable suspense. This is a masterly novel. It will appeal to all lovers of fiction of the first order.
Pub Date: June 1, 1985
ISBN: 068487122X
Page Count: 872
Publisher: Simon & Schuster
Review Posted Online: Sept. 30, 2011
Kirkus Reviews Issue: May 15, 1985
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