More period exotica by the author of such languorous entertainments as Interview with a Vampire and The Feast of All Saints: this time Rice explores the musical demiworld of the 18th-century castrati—those flute-voiced, angelic singers who as boys were "mutilated to make a choir of seraphim, their song a cry to heaven that heaven did not hear." The star of this terrible show is primo Tonio Treschi—but before his entrance there's the sadly common-place history of Tonio's teacher/lover Guido Maffeo, a peasant child, castrated at six for the sake of heavenly music, who loses his voice at 17 but finally settles down to gifted teaching and composition at the Castrati music school in Naples. And it's at about this time in Venice that handsome 15-year-old Tonio, son of the patrician Andrea and young melancholy Marianna, finds his life shadowed and then threatened when he learns that his "dead" half-brother Carlo is very much alive: after Andrea's death, the sinister, disinherited Carlo (who is really Tonio's father!) neatly eliminates Tonio by ordering his abduction and castration. So, forced to announce publicly that this was his own decision to save his beautiful singing voice, Tonio arrives at Guido's conservatory, nearly insane with rage and grief. But on the flanks of Mount Vesuvius he accepts two tasks: a) he swears Revenge on Carlo; b) he will continue to sing up a storm. And later he will ponder his sexual identity with: Guido, a life-long love; gentle feline boys; "masculine" men—including a learned Roman Cardinal; and then the lovely Christina Grimaldi, a painter. Thus, Tonio probes the essence of maleness and femaleness: ". . . if I were part of one or the other or even part of both." And finally it will be Tonio's transvestite allure—he is at last persuaded to take a female role in Guido's opera—that will inch Carlo to his doom. . . in a marvelously shuddering showdown. Rice has convincingly reconstructed performance and training highlights in this era of ornamental vocalization; and the dialogue, assassin-filled plot, and erotica moments all oom-pah away to a splendidly flowery operatic tempo—con amore, con brio, con carnage.
Pub Date: Sept. 14, 1982
ISBN: 0099471388
Page Count: 592
Publisher: Knopf
Review Posted Online: April 9, 2012
Kirkus Reviews Issue: Sept. 1, 1982
PERSPECTIVES
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 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
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