First novel from Polish-born scholar and critic Appignanesi (Postmodernism, Ideas from France, etc.—not reviewed): a big, rich family romance that strives for intelligent characterizations while loading on entertainment values. Pivotal here is Sylvie Kowalska, a Polish teenager of great musical talent and equally strong erotic drive. While at a concert in Paris, Sylvie begins a steamy seduction of psychoanalyst Jacob Jardine and at the same time has a lesbian affair with fellow schoolgirl Caroline. Sylvie's flirting with men at cafes inflames Jacob and eventually drives him to marry her, although he knows that her sexual volatility can never be held in check by either of them. Jacob, before meeting Sylvie, has had a long affair with Mathilde, who now abandons him reluctantly to marry Prince Frederick of Denmark, a cold fish. Sylvie thinks Mathilde a rival. During the Nazi occupation, Sylvie saves Jacob's life when he is a prisoner; then, pregnant, she goes to Poland to see a beloved friend. While there, she has a boy baby but after delivery distractedly switches the boy for a girl baby to satisfy both Jacob and the memory of the now-dead Caroline, who's committed suicide. Sylvie is a vicious mother to baby Katherine, whose story takes over. Meanwhile, the switched baby boy, Jacob's real son Alexie Gismond, eventually becomes a famed Italian film director, then is told by Sylvie that he is her son—but she kills herself before explaining all to him. Alexie begins tracking down Katherine, who deeply loves Jacob, her so-called father. Waiting for the recognition scenes between Katherine and Jacob and between Katherine and her lover Alexie (whom she comes to believe is her brother) keeps the reader charged. But the story's resolution comes about irritatingly as a result of information from offstage. Lots of analysis, sex, and references to great artists make for gripping fun that never rises above fur-lined romance.
Pub Date: Feb. 17, 1992
ISBN: 0-525-93403-0
Page Count: 572
Publisher: Dutton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 15, 1991
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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