As the title suggests, this is a small handful of early pieces by Elkin (three short stories and a brief memoir-essay), including his very first published story, "A Sound of Distant Thunder," which appeared originally in Epoch magazine. Never a man to puff himself up, Elkin has supplied an introduction to the volume in which he announces brightly that "The three pieces in this collection. . .are not, I'm afraid, very good. Indeed, with the possible exception of 'Fifty Dollars,' they are no good at all." But Elkin, as usual, knows what he's doing. After such candor as this, who among us can resist taking at least a little peak? The memoir-essay, for example, which appeared in Antaeus and is called "Where I Read What I read." Here's a peek at Stanley Elkin, indeed, telling about his graduate-student days and, before those, about his Army time—including the long-ago day in Colorado in the 1950s, on bivouac in the mountains, when he managed, after trench-digging duty, to sneak off under the pine trees to read Thomas Mann's "Mario the Magician." "I was astounded," he reveals, "by how beautifully men could write, stunned by how they could imagine worlds so much more beautiful, if not more comfortable, than even this one. . . This was the happiest day of my life." "Bill Bamberger is willing to put this stuff between covers," Elkin writes. "I sign fifty copies of the press run and—at least that's the assumption—a few dozen people will be willing to pay a small premium to have it in their libraries." Well, sure. After all, there's life in this unpretentious little volume, a thread of melancholy woven into the drollery, and a few pieces of early Elkin for those who want to see what they're like, or to make their collection complete.
Pub Date: July 1, 1985
ISBN: 0917453034
Page Count: 104
Publisher: Bamberger Books
Review Posted Online: March 28, 2012
Kirkus Reviews Issue: June 15, 1985
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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