A brilliant example of how to assimilate and transmute powerful literary influence. And what a movie this dark, haunting...
Intensely dramatic debut, set in Kansas and points west and southwest during the 1870s: a direct homage to Cormac McCarthy’s highly praised fiction (both his Blood Meridian and the recent Border Trilogy) but also an original work of high distinction.
The protagonist, teenaged Gabriel Lynch, arrives from the East with his widowed mother Eliza and younger brother Ben at a train station where they’re met by her husband-to-be, Solomon Johns, a farmer who had been Eliza’s first love before her life with the boys’ father, a prosperous middle-class Baltimore mortician. Gabriel resents the opportunities lost, and the hard life they’re introduced to, and eagerly leaves “home,” joining another black boy (James) to ride with a group of cattle drovers. A bloodthirsty odyssey ensues, as the gang’s embittered leader Marshall Hogg (an amoral fatalist straight out of Dostoevsky) directs his minions to steal, rape, and murder, ever moving on, through Mexico, Arizona, and the Rockies, en route to California—away from the avengers who slowly, methodically pursue them. Durham tells this story with great skill, weaving together a beautifully plotted central action and extended italicized passages detailing the embattled growth to manhood of the stoical Ben and the steely determination of a bereaved Mexican soldier who’ll follow Hogg to hell and back. Meanwhile, he also depicts with hallucinatory vividness the enigmatic figure of Hogg’s second-in-command Caleb, a black drover who never speaks, and harbors a terrible secret indeed. The only flaw in the narrative is Durham’s inexplicable tendency toward an abstract rhetoric clearly influenced by both the aforementioned McCarthy and his major influence, Faulkner, which often produces moments of ludicrous and vague grandiosity (e.g., watching Caleb, “Gabriel thought him some dark figure of the apocalypse”). Such moments aside, Gabriel’s Story grates on the reader’s nerves unerringly, and frequently rises to real grandeur.
A brilliant example of how to assimilate and transmute powerful literary influence. And what a movie this dark, haunting tale will make.Pub Date: Feb. 1, 2001
ISBN: 0-385-49814-4
Page Count: 304
Publisher: Doubleday
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 1, 2001
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
Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.
Sisters work together to solve a child-abandonment case.
Ellie and Julia Cates have never been close. Julia is shy and brainy; Ellie gets by on charm and looks. Their differences must be tossed aside when a traumatized young girl wanders in from the forest into their hometown in Washington. The sisters’ professional skills are put to the test. Julia is a world-renowned child psychologist who has lost her edge. She is reeling from a case that went publicly sour. Though she was cleared of all wrongdoing, Julia’s name was tarnished, forcing her to shutter her Beverly Hills practice. Ellie Barton is the local police chief in Rain Valley, who’s never faced a tougher case. This is her chance to prove she is more than just a fading homecoming queen, but a scarcity of clues and a reluctant victim make locating the girl’s parents nearly impossible. Ellie places an SOS call to her sister; she needs an expert to rehabilitate this wild-child who has been living outside of civilization for years. Confronted with her professional demons, Julia once again has the opportunity to display her talents and salvage her reputation. Hannah (The Things We Do for Love, 2004, etc.) is at her best when writing from the girl’s perspective. The feral wolf-child keeps the reader interested long after the other, transparent characters have grown tiresome. Hannah’s torturously over-written romance passages are stale, but there are surprises in store as the sisters set about unearthing Alice’s past and creating a home for her.
Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.Pub Date: March 1, 2006
ISBN: 0-345-46752-3
Page Count: 400
Publisher: Ballantine
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Dec. 1, 2005
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