A miss-and-hit portrayal of the stand-up comedy scene, circa 1979, by comedian Maher, the sardonic host of Comedy Central's Politically Incorrect. Stand-up comedy's a notoriously tough subject for a novel (see Meg Wolitzer's This Is Your Life). So give Maher credit for an authentic peek at manic jokesters, scuzzy promoters, star-struck groupies, and hostile audiences. He also captures the start of the 1980s boom that franchised comedy to the heartland, with ``road comics'' housed in the divey comedy condos provided by club owners. But he's written a better documentary than a novel. His five comedian protagonists—Dick, Shit, Fat, Chink, and Buck, so ``pseudonymed'' for their specialty jokes—are fleshed out little beyond their too-often-repeated monikers. It's hard to care about comedians whose comedy styles—as evinced by the less-than-stellar monologues peppering the book—suggest they think mostly about avoiding the dreaded idea of a day job. Their crises—stage success and sex (or maybe love)—mainly provide set pieces for Maher's ironic eye and riffing descriptions. He has some small epiphanies to pass on: To embrace groupies brings comedians down from their perch, adding a Catch-22 to celebrity; a waitress nicknamed Pussy is popular because she provides empathy, a more precious commodity to comics than sex. And some of his lines linger: ``Summer hit...with all the force of one of those great weather analogies in a Dashiell Hammett detective story.'' Too many other lines belong to the ephemeral realm of speech; on the page they're groaners: ``Getting in shape was a difficult undertaking...and for that reason undertaking had always been a profitable business.'' Shtick may work in Seinlanguage, but not here. A decent read for comedy buffs or fans who can imagine the author's irreverent voice. Otherwise, nice try, Mr. Maher, but don't give up your comedy job.
Pub Date: Aug. 1, 1994
ISBN: 0-679-75337-0
Page Count: 224
Publisher: Random House
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 1, 1994
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
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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