NIGHTSTALKER

Ducking missiles and evading MIGs, America's only Stealth bomber prototype sneaks into the Soviet Union to destroy the supercomputer-controlled radar system that threatens the world's balance of power—in Rizzi's first technothriller. It's eight or so years ago, and everything's the way it used to be—a golden age for technoterror when the Soviet Union was still the Evil Empire and America was still spending big bucks on technogear. Here, the superpowers are getting ready to sign a major strategic weapons agreement, but the Soviets are, of course, cheating. Using stolen Western computer technology, they have put together a radar system capable of using the entire frequency spectrum to track and outthink any invading aircraft. The free world's bomber force is instantly useless. Well, almost useless. Fortunately for free peoples everywhere, America's military industrial complex has been working on a supersecret technogizmo of its own. The prototypes of the Stealth bombers that were not to have been airborne for another six or eight years are already up and running. A defecting Soviet fighter pilot brings the news of the naughty radar to the Air Force, and, over the objections of the ever-wimpish State Department, the CIA and the military send their supposedly nonexistent radar-invisible superplane to Moscow to take out the pesky gadget. The Stealthy crew includes the Soviet defector, who knows that he'll be facing some very irritable ex- associates. And you thought the cold war collapsed over economics. Harrowing flight scenes aren't quite enough to compensate for turgid technospeak and an incredibly decisive and gutsy president figure. Stealthy plot takes too many direct hits from real-life events.

Pub Date: May 28, 1992

ISBN: 1-55611-290-4

Page Count: 400

Publisher: Donald Fine

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 15, 1992

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

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A LITTLE LIFE

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.

THE CATCHER IN THE RYE

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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