A wealthy romance writer, her three English granddaughters, and the dastardly lawyer who attempts to destroy them all are featured in Conran's new two-generation saga—as businesslike and unsuspenseful as Lace (1982), and as destined for mega-promotion. Elinor O'Dare suffers the disadvantage of having grown up in America, the daughter of a brutish father and his submissive wife, but she manages to make something of herself nevertheless as a WW I Red Cross nurse, the steadfast wife of an upper-class English layabout, and, finally, one of the world's most successful romance writers. Charged with raising her three granddaughters after the death of her only son, old-fashioned O'Dare leans on attorney and family friend Joe Grant for advice and emotional support. When Joe dies his son, Adam, takes over Elinor's financial affairs, and so the O'Dare clan's tragic fate is practically sealed. As Conran reveals much too early in this lengthy yarn, handsome, coldhearted Adam is a compulsive gambler with steadily mounting debts. Thus it comes as no surprise to anyone but the four O'Dare women (the granddaughters include Clare, the judgmental prude; Annabel, the beautiful airhead; and Miranda, the feisty businesswoman) that Adam soon has his hand in the till. As the O'Dares marry, separate, and reunite with an assortment of virtually interchangeable men, they blithely ignore Adam's gambling addiction—but the discovery that he's bisexual serves to remove the veil of idealism from their eyes. Adam is booted out of Miranda's and Annabel's beds; Elinor is delivered from a prison-like nursing home; and the O'Dares are rescued from—horrors!—life with only a minimal financial cushion. For their own money, readers get: the Cannes Film Festival, a palace in southern France, the New York modeling scene, swinging- Sixties London, Europe during WW I, much discussion of love and the importance of female orgasm, and an avalanche of detail on how trust funds operate. Conran should do well, as always.
Pub Date: Jan. 15, 1992
ISBN: 0-671-50149-6
Page Count: 544
Publisher: Simon & Schuster
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 15, 1991
IN THE NEWS
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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