A powerful, affecting second effort.
Cruz (Soledad, 2001), chronicler of New York Dominican life, traces a family’s embittering struggle to establish itself between a revolutionary Dominican Republic (circa 1965) and early 1990s Bronx.
Don Chan of Los Llanos, D.R., is the patriarch and anchor of this somber tale. A Chinese who somehow washed up on the beach when he was a child, he ended up marrying the same woman, Caridad, who discovered and took care of him 70 years before, and with whom he tended a farm he acquired during the revolutionary days of the mid-60s. But Caridad has died, and Don Chan leaves his country for the first time in 1991 to live with his son and family in New York City, where Santo and Esperanza fled ten years prior to work as a cab driver and nurse’s aide, respectively, while trying to raise two children in a better life. To Don Chan, however, they live like rats, in a tiny, noisy apartment with much crime, fear and no trees; he fires Santo up remembering the good old days when the peasants, led by Don Chan and the prophetic teenager Miraluz, organized themselves and tried to resist the rich dictator Trujillo, even briefly voting in their own president, Juan Bosch. Yearning for home proves too much for Santo, who becomes the tragic casualty of a cab holdup, while Esperanza, educated on Dallas reruns, rejects her past as a defeat and disastrously embraces the acquisitiveness of America. Their children, most unfortunately, are caught up in this generational mayhem, and Don Chan, resistant to the changes of the present, adrift in Nueva York, gradually loses hold of his sanity. Cruz handles this sad tale with dignity devoid of melodrama. She demonstrates enormous affection for her characters without sentimentalizing their naivete or ignorance. Her Esperanza, for example, is a silly, greedy creature, willfully self-disillusioned yet also tremendously adaptable and devoted to her family.
A powerful, affecting second effort.Pub Date: May 1, 2005
ISBN: 0-7432-1203-7
Page Count: 256
Publisher: Simon & Schuster
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 1, 2005
A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.
Pub Date: July 11, 1960
ISBN: 0060935464
Page Count: 323
Publisher: Lippincott
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: July 1, 1960
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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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