The talented Nance, an air safety analyst, retired Air Force pilot, and civilian 737 pilot for a major airline, here keeps the tension as high and nasty as in his last two airborne thrillers, The Last Hostage (1998) and Medusa’s Child (1997). It all begins when SeaAir Flight 122 crashes over the Gulf of Mexico, a crash as inexplicable as the recent sudden loss of an Egypt Airlines plane. Meanwhile, in Hong Kong, FBI Special Agent Kat Bronsky, who has just given a talk at an airline counterterrorist panel, is heading back to the States when Robert McCabe, investigative reporter for the Washington Post, implores her to listen to a tale of murder that he believes involves terrorists. They board a 747 to fly back to the States together, but Kat is called off the plane by her boss and ordered to stay in Hong Kong. The 747 is two hours out into its flight when a white flash explodes before the cockpit, killing the pilot and blinding the copilot. Although the automatic pilot helps, there’s no one to fly or land the plane'and some amusing humor about Leslie Nielson’s air-disaster movies arises. McCabe and various passengers, none of them licensed pilots, gather in the cockpit to help the blind pilot turn back to Hong Kong and attempt to land. But they fail, taking out a control tower, and must now fly their radio- and radar-disabled plane to Thailand through lightning storms and other deviltries. Among the pilot’s new aides are a lippy 14-year-old boy, who becomes the hands-on pilot, and an unsinkable Kathy Bates/Molly Brown character, Dallas Nielson (yes, Nielson). Airborne, Nance’s hand for crackling intensity remains peerless. Once on the ground, the standard figures of melodrama emerge in the forms of deep-dyed villains, law-enforcement fieldworkers, and the harassed US president. If this saga is ever filmed, the screenwriter should toss its second half.
Pub Date: Feb. 7, 2000
ISBN: 0-399-14594-X
Page Count: 430
Publisher: Putnam
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 1, 2000
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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