Pérez-Reverte ends the novel imaginatively, but not soon enough to rescue it from portentousness and redundancy. The author...
Dialectic replaces drama in a different kind of historical suspense novel, an international bestseller published in the U.S. for the first time, from the Spanish author (The Queen of the South, 2004, etc.).
The protagonist, Andrés Faulques, is a celebrated war photographer who, in middle age, has retreated to a watchtower on the Spanish Mediterranean coast to work on a huge circular mural depicting every war ever fought. Channeling the great masters of battle painting (such as Goya, Bruegel and Picasso), Faulques settles into a daily routine that includes swimming in the sea, listening to a female tour guide (who includes him among the region’s attractions) and fighting off pain from the incurable illness (doubtless cancer) that is killing him. Then one day a visitor arrives: a Croatian named Ivo Markovic. Markovic is a former soldier whose image happened to be captured in one of the photographs that made Faulques rich and famous. Markovic reveals that the photograph, widely shown during wartime, was employed by Croatia’s Serbian enemies, soldiers who hunted down Markovic’s family, raped and tortured his wife and murdered her and their young son. The occluded morality of art and the artist thus becomes the subject of daily conversations between the two men, after the Croatian has informed the photographer that he has come to kill him. Despite the beauty of Peden’s lucid translation and the tension implicit in contrasts between Markovic’s emotion and Faulques’s stoical fatalism, the novel becomes static—clogged with colloquies about the “Butterfly Effect” (it states that a small action innocently performed can resonate dangerously around the world) and the exploitative element in fashioning beautiful images from human suffering (most piercingly in Faulques’s hesitantly shared recollection of Olvido, his former female colleague and lover—and the subject of his camera’s insistent eye).
Pérez-Reverte ends the novel imaginatively, but not soon enough to rescue it from portentousness and redundancy. The author has done and can do better than this.Pub Date: Jan. 15, 2008
ISBN: 978-1-4000-6598-1
Page Count: 224
Publisher: Random House
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 15, 2007
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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