A first novel from Treichel, a well-known German poet and critic, turns a fragmented family’s arduous search for its missing son into an eerie and perversely amusing metaphysical puzzle. The nameless narrator, a boy of indeterminate age, lives with his parents in a village near the Polish border—and with the knowledge that he is both their only child and the child they love least. For an older brother, Arnold, he eventual learns, was “lost” during WWII when, fleeing the invading Russian army, Arnold’s terrified mother had impulsively passed her baby to another woman—who immediately disappeared into a crowd, never to be seen again. Years later, the narrator observes with mingled resentment and fear the efforts of his still-traumatized mother and businesslike father (a prosperous meat wholesaler) to determine, through genetic testing, whether an anonymous orphan—designated “foundling 2307” and said to bear an “amazing likeness” to their other son—is indeed the missing Arnold. Treichel stretches this intriguing premise into a wry psychodrama focused on the narrator’s increasing confusions about his own identity, confusions that are nicely balanced by satirical glimpses of officialese red tape and impersonality (the family’s visit to Heidelberg’s Forensic Anthropology Institute is a deadpan-comic nightmare worthy of Kafka). After a somewhat stodgy beginning riddled with affected redundancy (virtually an entire page is consumed by the narrator’s reiterated objections to being “squeezed” by his mother), the novel moves with impressive swiftness toward a chilling surprise ending triggered by several unanticipated reversals (the narrator’s passive mother becomes the family spokesperson; her decision to adopt foundling 2307, no matter whether he is or isn’t Arnold, is thwarted; and the narrator’s fear of being displaced by the brother his parents really want is assuaged—in a way he cannot have foreseen). A gripping and resonant parable, done with remarkable economy, subtlety, and finesse.
Pub Date: Oct. 11, 1999
ISBN: 0-375-40627-1
Page Count: 144
Publisher: Pantheon
Review Posted Online: Jan. 24, 2011
Kirkus Reviews Issue: Sept. 15, 1999
BOOK REVIEW
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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