With his detached, eminently humane, honest, and bitingly funny narration, Fred makes an unerringly entertaining...
Vibrant, amusing tale from film director/author Dörrie (What Do You Want From Me?, 1991, etc.) limns a richly entertaining midlife crisis, which takes a faithless husband to a Buddhist retreat in France.
Fred is not in search of enlightenment, however, and seems an unlikely candidate for Eastern religion. He has been assigned by his wife, Claudia, to ensure that their teenaged daughter, Franka, does not run off to India with her lover, a scholar of Buddhism named Pelge. Fred leaves Munich, his lover, and his chain of eateries behind to travel with Franka to meet Pelge. His daughter immediately blends into the community and disappears, while Fred is assigned a “family” with whom he will spend the next few TV-, caffeine-, and smoke-free days. They are, as might be expected, torturous for self-indulgent Fred, but the peace gives him time to reflect on his marriage. The spark went out of it some indistinct time ago; now Claudia is a devoted Buddhist, performing nightly prostrations for world peace instead of cuddling with Fred. At the retreat, he meets lovely Antje, who confides that she’s here because her husband, Theo, has fallen in love with a student of Buddhism, and she wants to discover the religion’s appeal. It turns out that Theo, a member of Fred’s retreat “family,” is the man who inspired Claudia to try Buddhism, and indeed the two have become lovers. In some delightful sketches, Fred good-naturedly but sarcastically observes the retreat’s rituals. Then he witnesses Theo’s sudden death and realizes this sojourn has changed him. Fred wishes Franka luck in India, drives grieving Antje home to Amsterdam, declines to donate sperm to a pair of hospitable lesbians, and en route to Munich saves the life of a motorist on the autobahn
With his detached, eminently humane, honest, and bitingly funny narration, Fred makes an unerringly entertaining companion—and he even finds wisdom in Buddhist teachings, despite his best efforts to remain crass and ironic.Pub Date: July 10, 2001
ISBN: 1-58234-151-6
Page Count: 280
Publisher: Bloomsbury
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 15, 2001
BOOK REVIEW
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
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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