The local nature of their canny, comic tonalities, the old-timey subtitle, and the fact that all the action takes place before 1942 might lead browsers to take these Berry stories as merely quaint. That would be a mistake. In fact, like Isaac Bashevis Singer, Berry has been expanding by contraction, husbanding by close focus—in Berry's case, on the familiar demesne of Port William, Ky. (Fidelity, 1992, etc.). The tales here all revolve around the equable, lanky figure of farmer Tol Proudfoot and his schoolteacher wife, Miss Minnie. Tol— negligent of dress, gregarious, hungry, a preternaturally economical worker and doer—is less a fascinating character in and of himself than he is an utterly engaged, interlocking piece of humankind, at home in the world and among his fellow dwellers. In the Depression-era setting of ``The Solemn Boy,'' Tol invites a hobo-ing father and son inside for a meal, a small, good-humored act that brings disproportionate emotional nourishment. His apprehension of horse-consciousness in ``A Half-Pint of Old Darling'' (``startled by the steam clouds of his breath...he enjoyed the notion that he was in danger of being run over by the buggy rolling behind him'') shapes Tol's feelings about his first long car trip in the subsequent ``Nearly to The Fair,'' a funny, steady exercise in the virtues of getting nowhere too fast, as well as a recommendation for occasionally being helplessly, freely lost. The long title story, which closes the collection, is a masterpiece about a group of men following into the woods over a whole day and night a young neighbor (``at once their fear, their quarry, and their leader'') who has gone out of his head and bears a shotgun with which he may kill either himself or them. The tale clarifies Berry's direction, as he moves way beyond nostalgia toward an immersion in other lives that expresses itself as a sense of intimate apartness—a willingness to follow his characters, but not necessarily to change them. Poetry nestled inside prose: startlingly and classically moving.
Pub Date: Sept. 13, 1994
ISBN: 0-679-43469-0
Page Count: 224
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1994
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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