Not really essays, not genial and general E. M. Forster-ish talks either, nor stirring defenses nor rhetorical destructions, these lectures Nabokov prepared and gave at Cornell in the Fifties are just that: he talks and reads, we listen (the same general approach—heirophant picking out the mystery from the dross—that Nabokov used in his own fiction); and literature is taken apart like a boxful of toys: "impersonal imagination and artistic delight," "the supremacy of the detail over the general, of the part that is more alive than the whole." There are diagrams and drawings, quiddities made visual: a map of Sotherton Court in Jane Austen's Mansfield Park; exactly what kind of beetle Gregor Samsa turned into in "The Metamorphosis" the facade of 7 Eccles St., Bloom's house in Ulysses; what Odette's orchid looked like in Swann's Way. The more specific and crammed the writer, the more specific and crammed Nabokov's lecture: Dickens, Flaubert, Joyce. He finds Bleak House's tricks delicious, the richness and the pity; in Ulysses he swats away the Freudian interpretations ("a thousand and one nights [made] into a convention of Shriners") in favor of the devilish intricacy of Joycean synchronicity: "the hopeless past, the ridiculous and tragic present, and the pathetic future." Where sheer lush orchestration is less the thing, Nabokov falls back on thematic layering and transformation; before Stevenson's "Dr. Jekyll and Mr. Hyde" and Kafka's "The Metamorphosis" he is almost brief, enchantedly synopsizing although with microscopic attention still. In Nabokov a crankiness is always near the surface (here he rants against movies, even music); and he betrays a certain anxiety by detailing so much, as though a great work might try and fool him: there's something at the same time eccentric and regimental to his appreciation. But finally there is a personal, fussy, high rapture to these lessons and illustrations, not quite analytical (Nabokov was too defensive and contentious for analysis—maybe too brilliant, too)—more a delight in literature-as-camouflage. Distinctive and demanding.
Pub Date: Oct. 22, 1980
ISBN: 0156027755
Page Count: 420
Publisher: Harcourt Brace Jovanovich
Review Posted Online: Oct. 1, 2011
Kirkus Reviews Issue: Oct. 1, 1980
Heartfelt, yes, but pretty routine.
Life lessons.
Angie Malone, the youngest of a big, warm Italian-American family, returns to her Pacific Northwest hometown to wrestle with various midlife disappointments: her divorce, Papa’s death, a downturn in business at the family restaurant, and, above all, her childlessness. After several miscarriages, she, a successful ad exec, and husband Conlan, a reporter, befriended a pregnant young girl and planned to adopt her baby—and then the birth mother changed her mind. Angie and Conlan drifted apart and soon found they just didn’t love each other anymore. Metaphorically speaking, “her need for a child had been a high tide, an overwhelming force that drowned them. A year ago, she could have kicked to the surface but not now.” Sadder but wiser, Angie goes to work in the struggling family restaurant, bickering with Mama over updating the menu and replacing the ancient waitress. Soon, Angie befriends another young girl, Lauren Ribido, who’s eager to learn and desperately needs a job. Lauren’s family lives on the wrong side of the tracks, and her mother is a promiscuous alcoholic, but Angie knows nothing of this sad story and welcomes Lauren into the DeSaria family circle. The girl listens in, wide-eyed, as the sisters argue and make wisecracks and—gee-whiz—are actually nice to each other. Nothing at all like her relationship with her sluttish mother, who throws Lauren out when boyfriend David, en route to Stanford, gets her pregnant. Will Lauren, who’s just been accepted to USC, let Angie adopt her baby? Well, a bit of a twist at the end keeps things from becoming too predictable.
Heartfelt, yes, but pretty routine.Pub Date: July 1, 2004
ISBN: 0-345-46750-7
Page Count: 400
Publisher: Ballantine
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 15, 2004
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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