Enderby the Poet—corpulent, flatulent, malicious—arrived, full of bile and Joycean brio, in Enderby (1968). He took a look at New York circa 1973 in The Clockwork Testament (1975), promptly dying of a heart attack. And now, "to placate kind readers. . . who objected to my casually killing my hero," Enderby is resurrected circa 1976—in a brief, heavyhanded, disappointing episode. This time the prim poet is in Terrebasse, Indiana (that's the level of the wordplay here), hired to write the libretto for a musical about Will Shakespeare. His collaborators, of course, are a cartoonishly crude lot—they want show-biz, not Enderby's intricately rhymed Elizabethan-style verses. The show's backer is ostentatious local matron Mrs. Schoenbaum (more than a whiff of anti-Semitism here), whose favorite spiritualist claims to be in touch with Shakespeare's understandably riled-up ghost. But the co-star, in the Dark Lady role, is gorgeously black pop-diva April Elgar—and Enderby, smitten with lust, is soon tailoring the show to her non-Elizabethan talents. April, who switches back and forth between crude New Yorkese and a "slave whine" (both imperfectly rendered), is actually nice and educated; she invites Enderby to her Carolina home for Christmas (where he must pose as a clergyman, preaching an incoherent sermon to a Baptist congregation); she is not unresponsive to Enderby's infatuation. Still, Enderby—for "aesthetic" reasons—declines to convert his lust into reality, confining himself to masturbation. ("He had to cart the engorged shlong three times into the bathroom. . . .") And, in the ill-staged slapstick finale, the poet is forced to take over the role of Shakespeare on the opening night of the show. . . now titled Actor on His Ass. Burgess bulks out this thin novella with two labored Shakespeare fantasies—one at the beginning (WS drafts the 46th Psalm for the King James Bible), the other at the end (WS and time-travelers). He includes many examples of Enderby's hard-working libretto. But the central comic situation never comes to satiric life (mystery-writer Simon Brett would have gotten more laughs from it); the love-story manquÉ is limp; and the two strengths of the previous novels—the Enderby character, the rococo narration—only flair sporadically in this twiddling spin-off.
Pub Date: April 1, 1984
ISBN: 0070089760
Page Count: 160
Publisher: McGraw-Hill
Review Posted Online: May 15, 2012
Kirkus Reviews Issue: March 15, 1984
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
Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.
Sisters work together to solve a child-abandonment case.
Ellie and Julia Cates have never been close. Julia is shy and brainy; Ellie gets by on charm and looks. Their differences must be tossed aside when a traumatized young girl wanders in from the forest into their hometown in Washington. The sisters’ professional skills are put to the test. Julia is a world-renowned child psychologist who has lost her edge. She is reeling from a case that went publicly sour. Though she was cleared of all wrongdoing, Julia’s name was tarnished, forcing her to shutter her Beverly Hills practice. Ellie Barton is the local police chief in Rain Valley, who’s never faced a tougher case. This is her chance to prove she is more than just a fading homecoming queen, but a scarcity of clues and a reluctant victim make locating the girl’s parents nearly impossible. Ellie places an SOS call to her sister; she needs an expert to rehabilitate this wild-child who has been living outside of civilization for years. Confronted with her professional demons, Julia once again has the opportunity to display her talents and salvage her reputation. Hannah (The Things We Do for Love, 2004, etc.) is at her best when writing from the girl’s perspective. The feral wolf-child keeps the reader interested long after the other, transparent characters have grown tiresome. Hannah’s torturously over-written romance passages are stale, but there are surprises in store as the sisters set about unearthing Alice’s past and creating a home for her.
Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.Pub Date: March 1, 2006
ISBN: 0-345-46752-3
Page Count: 400
Publisher: Ballantine
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Dec. 1, 2005
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