Alan Cumming is a marvelous actor.
Frothy first novel by the Scottish stage and film actor heretofore best known for his Tony Award–winning role in the recent revival of Cabaret.
The story is a first-person confession, of sorts, in which the eponymous Tommy, a late-twentysomething who vacillates between avoiding adulthood and desiring fatherhood, chats amiably with the reader about his versatile (i.e., bisexual) love life, rules for avoiding the sin of being a bore, and relationships—with jaded roommates Sadie and Bobby, his older boyfriend Charlie, and the latter’s owlish, charming eight-year-old son Finn. Cumming’s plot, such as it is, follows Tommy through a succession of one-night stands, even more orgiastic excesses during a trip to New York City with the photographer who employs and indulges him, a reunion with his gorgeous former girlfriend India, and a muted acceptance of the only lifestyle he’s really suited, and inclined, to lead. The narrative is occasionally interrupted by interpolated “fairy tales” that underscore Tommy’s experiences and noodlings with suffocating banalities (e.g., “There is so much joy out there to be had, and most people are bereft of it because they are simply scared of letting it in”). There are also numerous digressions on such topics as partying etiquette, bathroom décor, the mechanics of male urination, and Tommy’s drug of choice: Ecstasy, the subject of repeated paeans to its pleasures and benefits. A few funny bits do crop up: notably, some ingeniously bitchy remarks about India’s former German boyfriend Kurt, and the experience of “being given a lecture on the evils of drug taking by a furious woman wearing a crucifix, in the disabled toilet of Planet Hollywood.” But such high points, so to speak, aren’t enough to redeem Tommy’s Tale from its larky, slapdash inconsequence.
Alan Cumming is a marvelous actor.Pub Date: Sept. 2, 2002
ISBN: 0-06-039444-7
Page Count: 272
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 15, 2002
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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