Ever unpredictable, Lessing now offers a rather cryptic yet uncommonly accessible tale of psycho-social horror: a variation on the classic "changeling" formula—here marbled, subtly and disturbingly, with such Lessing themes as apocalyptic doom, the rough dignity of society's outcasts, and the dark underside of human nature. (The five-novel "Martha Quest" series, Lessing readers will remember, is called Children of Violence.) In the 1960's, that "greedy and selfish" time of alienation and "bad news from everywhere," young architect David (terribly old-fashioned) meets solid, homey Harriet (a grownup virgin)—and soon they're a couple, blissful and confident in their sharing of all the traditional, "unfashionable" values. They buy a big house (with help from David's wealthy father), joyfully begin having babies (they want at least seven or eight), and become the happy center of rich, extended family life, continually visited by assorted in-laws. Circa 1972, they're relieved and grateful: "they had chosen, and so obstinately, the best—this." With Harriet's fifth pregnancy, however, this idyll (quickly, hypnotically sketched) begins to fall under a sickly, expanding, implacable shadow. The expectant mother is tormented by the fierce, unnaturally strong fetus. When born, baby Ben is heavy, muscular, creepy-looking—"like a troll, or a goblin or something"—and violent. As a child, he's hostile, unteachable, "neanderthal"dike, more dangerously violent (he kills a dog, then turns to humans) with each passing year. The family is splintered, cruelly transformed—by fear, shame, and furious sorrow (especially vulnerable little Paul). Eventually, urged on by David and flinty Grandma Dorothy, Harriet agrees to give Ben over to "one of those places that exist in order to take on children families simply want to get rid of." But, in a truly nightmarish sequence, the mother reclaims her unlovable horror-child from a death-ward for the unwanted. And, through sheer willpower and ruthless shrewdness, Harriet manages a sort of coexistence between the family (forever fractured) and the "throwback"—though the teen-age Ben inevitably takes off to roam the earth with the punks and outlaws who accept him. "Perhaps quite soon. . . she would be looking at the box, and there, in a shot of the News of Berlin, Madrid, Los Angeles, Buenos Aires, she would see Ben, standing rather apart from the crowd, staring at the camera with his goblin eyes, or searching the faces in the crowd for another of his own kind." As a symbolic summing-up of the past three decades, from Sixties cataclysm to Eighties terrorism, this short novel is vaguely provocative at best; the even broader, socio-anthropological subtext—civilized, familial mankind forced to confront the primitive animal within—is only slightly more persuasive. But, despite echoes of pop-fiction (Rosemary's Baby, etc.) and TV-movie case-histories (damaged child, valiant mum), the plain story itself—fine-tuned with ordinary-life details yet also insidiously fable-like—is stark, relentless, and memorably harrowing.
Pub Date: March 25, 1988
ISBN: 0679721827
Page Count: 148
Publisher: Knopf
Review Posted Online: Sept. 28, 2011
Kirkus Reviews Issue: Feb. 15, 1988
BOOK REVIEW
BOOK REVIEW
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
Dated sermonizing on career versus motherhood, and conflict driven by characters’ willed helplessness, sap this tale of...
Lifelong, conflicted friendship of two women is the premise of Hannah’s maudlin latest (Magic Hour, 2006, etc.), again set in Washington State.
Tallulah “Tully” Hart, father unknown, is the daughter of a hippie, Cloud, who makes only intermittent appearances in her life. Tully takes refuge with the family of her “best friend forever,” Kate Mularkey, who compares herself unfavorably with Tully, in regards to looks and charisma. In college, “TullyandKate” pledge the same sorority and major in communications. Tully has a life goal for them both: They will become network TV anchorwomen. Tully lands an internship at KCPO-TV in Seattle and finagles a producing job for Kate. Kate no longer wishes to follow Tully into broadcasting and is more drawn to fiction writing, but she hesitates to tell her overbearing friend. Meanwhile a love triangle blooms at KCPO: Hard-bitten, irresistibly handsome, former war correspondent Johnny is clearly smitten with Tully. Expecting rejection, Kate keeps her infatuation with Johnny secret. When Tully lands a reporting job with a Today-like show, her career shifts into hyperdrive. Johnny and Kate had started an affair once Tully moved to Manhattan, and when Kate gets pregnant with daughter Marah, they marry. Kate is content as a stay-at-home mom, but frets about being Johnny’s second choice and about her unrealized writing ambitions. Tully becomes Seattle’s answer to Oprah. She hires Johnny, which spells riches for him and Kate. But Kate’s buttons are fully depressed by pitched battles over slutwear and curfews with teenaged Marah, who idolizes her godmother Tully. In an improbable twist, Tully invites Kate and Marah to resolve their differences on her show, only to blindside Kate by accusing her, on live TV, of overprotecting Marah. The BFFs are sundered. Tully’s latest attempt to salvage Cloud fails: The incorrigible, now geriatric hippie absconds once more. Just as Kate develops a spine, she’s given some devastating news. Will the friends reconcile before it’s too late?
Dated sermonizing on career versus motherhood, and conflict driven by characters’ willed helplessness, sap this tale of poignancy.Pub Date: Feb. 1, 2008
ISBN: 978-0-312-36408-3
Page Count: 496
Publisher: St. Martin's
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 1, 2007
BOOK TO SCREEN
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