If The Razor’s Edge had starred Zero Mostel instead of Tyrone Power, this book might never have been written. And that would be a pity. Well-known translator Mitchell (The Book of Job, etc.) has given us a first novel in the form of an autobiography. And not just any autobiography, mind you, but a spiritual autobiography in the style of G.I. Gurdjieff’s Meetings With Remarkable Men, mixing anecdote with advice, and tossing some poems into the soup of philosophy. Stephen, our narrator, is a Jewish college professor whose disgust with the present-day cult of angels inspired him to publish a best-selling diatribe—Against Angels—attacking that obsession as delusional and puerile. Imagine his surprise, then, when confronted with an apparition of the Archangel Gabriel, who has come to set him straight. After engaging Stephen in an elaborate consideration of God, his angels, and the nature of human life, Gabriel settles back to listen to Stephen’s side of things. Stephen, hardly an atheist, has actually spent most of his life wrestling with religion and philosophy—among the Hasidim of Brooklyn, the Zen Buddhists, and the more mundane graduate students of Harvard, Columbia, and Berkeley—and the better part of the story is his. A husband and father, Stephen wants to understand God in relational terms, and Gabriel makes it clear that this is possible. But only up to a point: “You can’t see God’s face without dying. Are you ready to die?” Much of the story is a debate rather than a narrative, and sometimes it bogs down in the mire through which all such disputations must drive (“One of our most exciting games is standing on the edge of a truth, just before it touches its opposite, and gazing down into the abyss between them”). For the most part, though, this is a pretty good (if giddy) ride. Insanely quirky, but good-natured, unpretentious, and (at times) genuinely enlightening. (Author tour)
Pub Date: Sept. 3, 1998
ISBN: 0-06-018245-8
Page Count: 256
Publisher: HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1998
Coelho's placebo has racked up impressive sales in Brazil and Europe. Americans should flock to it like gulls.
Coelho is a Brazilian writer with four books to his credit. Following Diary of a Magus (1992—not reviewed) came this book, published in Brazil in 1988: it's an interdenominational, transcendental, inspirational fable—in other words, a bag of wind.
The story is about a youth empowered to follow his dream. Santiago is an Andalusian shepherd boy who learns through a dream of a treasure in the Egyptian pyramids. An old man, the king of Salem, the first of various spiritual guides, tells the boy that he has discovered his destiny: "to realize one's destiny is a person's only real obligation." So Santiago sells his sheep, sails to Tangier, is tricked out of his money, regains it through hard work, crosses the desert with a caravan, stops at an oasis long enough to fall in love, escapes from warring tribesmen by performing a miracle, reaches the pyramids, and eventually gets both the gold and the girl. Along the way he meets an Englishman who describes the Soul of the World; the desert woman Fatima, who teaches him the Language of the World; and an alchemist who says, "Listen to your heart" A message clings like ivy to every encounter; everyone, but everyone, has to put in their two cents' worth, from the crystal merchant to the camel driver ("concentrate always on the present, you'll be a happy man"). The absence of characterization and overall blandness suggest authorship by a committee of self-improvement pundits—a far cry from Saint- Exupery's The Little Prince: that flagship of the genre was a genuine charmer because it clearly derived from a quirky, individual sensibility.
Coelho's placebo has racked up impressive sales in Brazil and Europe. Americans should flock to it like gulls.Pub Date: July 1, 1993
ISBN: 0-06-250217-4
Page Count: 192
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 1, 1993
SEEN & HEARD
SEEN & HEARD
BOOK TO SCREEN
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
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