An ambitious but somewhat undercooked southern gothic psychological thriller from first-time author Kline. Cassie Simon is 27, a sculptor living in N.Y.C., working in an art gallery, having an affair with the gallery's owner, a womanizer, when her maternal grandfather dies and inexplicably leaves the Clyde family house and land in Sweet Water, Tennessee, to her. Although Cassie hasn't seen any of the Clydes since she was three—when her mother, Ellen, was killed in a car accident caused by the grandfather, who was drunk behind the wheel—Cassie decides to move down to Sweet Water and get to know her mother's family while she pursues her art. However, the family—Ellen's mother, called Clyde, and a sister named Elaine and a brother Horace—isn't especially glad to see Cassie; they think she's here to resurrect the scandals surrounding her mother's death and the earlier mysterious drowning of a townswoman named Bryce Davies. Naturally, Cassie becomes curious—just as her grandfather hoped she would when he left her the house, which she searches from attic to basement, discovering letters filled with family secrets. In alternating first-person narratives, she and grandmother Clyde, at first archenemies, eventually both come to terms with the fact Cassie's grandfather was not only a drunk but also a womanizer; that Clyde, who for a quarter-century has been suspected of murdering her husband's mistress Bryce, can now be forgiven for having simply rejoiced when Bryce died accidentally; and that Cassie's grandfather, although weak, did not murder his own daughter in revenge for the death of his mistress. Trouble is, the reader already knows all of this long before it's revealed, often awkwardly, in stormy late-night scenes. Meanwhile, Cassie has fallen for her aunt Elaine's adopted son Troy, who in the end takes her away from it all, to live with him in Atlanta. Deus ex machina. Unfortunately, the plot often creaks.
Pub Date: June 1, 1993
ISBN: 0-06-019033-7
Page Count: 288
Publisher: HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 1993
A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.
Pub Date: July 11, 1960
ISBN: 0060935464
Page Count: 323
Publisher: Lippincott
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: July 1, 1960
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
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
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