In a cautionary tale with a familiar moral, the arresting prose and complex characters shine.
A couple purchases a dilapidated estate and moves to a remote region of Colombia in this short novel, originally published in 1983 and González's first to be translated into English.
The story opens with a fitting image: J. and Elena’s luggage is on the roof of a bus, surrounded by tropical commodities—“bunches of plantains, sacks of rice, blocks of unrefined sugar cane wrapped in dried banana leaves.” They have come to the finca seeking an escape from the pressure and pretensions of city life. At first, they are busy and relatively happy in their new home. Elena, who enjoys cleaning, begins the task of clearing the house while J. takes inventory of their material needs with the help of his overseer. In a short time, however, J. and Elena find themselves fighting dire financial straits , unrelenting winter rains and mounting tensions in their relationship. As that opening image reveals, they’ve carried all their baggage along with them. J. joins the lumber business, hiring men to destroy the forests he had found so beautiful. Ironically, the timber is often too poorly cut to yield a profit. Seeing this, J. believes the failed endeavor has “plunged him into an absurd vortex of senselessness and death.” Elena, for her part, is less troubled by the hypocrisy of their position. She frequently expresses contempt for the locals and has a barbed wire fence built around their property. As the story progresses, J. and Elena continue to frustrate their own dreams, heading toward certain catastrophe. The vivid language yields slightly to the heavy foreshadowing and ominous tone that dominate the end. Yet despite the unsurprising conclusion, the novel leaves its mark.
In a cautionary tale with a familiar moral, the arresting prose and complex characters shine.Pub Date: Feb. 24, 2015
ISBN: 978-1-78227-041-6
Page Count: 34
Publisher: Pushkin Press
Review Posted Online: Nov. 28, 2014
Kirkus Reviews Issue: Dec. 15, 2014
BOOK REVIEW
BOOK REVIEW
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
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
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