Curiously light, an herbal teacup of the grim horrors drunk by the gallon by predecessors long ago.
First-novelist Dugain’s return to WWI, winner of the Prix des Libraires, offers quietly extended moments of seeming authenticity, then ends not in ashes but in soap.
In 1914, Adrian Fournier is 24, a civil engineer—and an officer. In his first day at the front, before the fighting has really even begun, he’s told to scout for locations along the Meuse where bridges can be built—but he doesn’t get far. Just as he’s gotten off his horse, the two men with him are killed and he himself is wounded hideously, never having even seen the enemy. His injury is “maxillofacial,” a wound to the face—or, more exactly, the loss of the whole center part of his face. He becomes the first patient in the wing of the Val de Grâce military hospital set aside for officers with this dreadful type of wound. There he’ll stay for the duration, in fact until April of 1919, undergoing a total of 16 operations (though his face “still did not look human”) and pondering how to go on with life afterward. As the ward fills, he becomes a kind of respected senior figure along with two others—Weil and Penanster—who remain patients as long as he does and with whom he becomes lifelong friends. There’s a woman in the picture also—Fournier met her only once, the night before he went to the front. Will she remember him? Will his appalling wound make love impossible? Weil counsels that sexual love is over for men with wounds like theirs—but could he be wrong? The love melodrama, though, poses fewer troubles for the reader than does the inexplicable good cheer of these ruined men, fêted by the state apparatus that even now still hasn’t embittered them (“It was a great day, and I came away convinced that this had indeed been the war to end all wars”).
Curiously light, an herbal teacup of the grim horrors drunk by the gallon by predecessors long ago.Pub Date: Nov. 1, 2001
ISBN: 1-56947-265-3
Page Count: 144
Publisher: Soho
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 2001
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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