Hempel's third volume of precious miniatures (At the Gates of the Animal Kingdom, 1990, etc.) includes a novella that reads like an inflated version of its short, fragile companion pieces, one no more than a paragraph long. Which would be fine if that paragraph (``Housewife'') were a finely etched, poetically dense bit of prose, but it's just short and rather silly. The six other pieces, some a page or two long, are offered in support of Hempel's claim that the miraculous abides in the ordinary, which here seems to mean scenes of domesticity, full of babies, children's games, and dogs. ``Church Cancels Cow'' and ``The Annex'' both concern the narrator's house, set across the street from a cemetery, where, we learn, one can watch dogs roaming and where a headstone for a dead baby is visible from every room. Summer resorts are the settings for three vignettes: ``Weekend,'' an idyll spoiled only when the men leave for work on Monday; ``The Children's Party,'' which features a moose sighting; and ``The New Lodger,'' the narrator's return to the site of past loves. The longer ``Sportsman'' chronicles a rough patch in a marriage, which the husband deals with by heading east to stay with friends on Long Island. The title novella is an extended letter written by the narrator from a sanitarium, and reflects the bitter patter of mental patients, odd comments hinting of deeper meanings. She writes to a famous painter with whom she once had tea, and tells him about her fellow ``guests'' at the former girls' school, such as Chatty, the southern belle and telepathic healer. The narrator fills her time by walking dogs from a nearby shelter and brooding on her mother, a frustrated artist who committed suicide. These ramblings try to impress with their sensitivity to ``objects in the world,'' but come across as an accumulation of scattered bits. Tales much like the poetry Hempel quotes: imagistic with no emotional or aesthetic heft, nor even a particular sensitivity to language.
Pub Date: May 7, 1997
ISBN: 0-684-83375-1
Page Count: 160
Publisher: Scribner
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 1997
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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