Et cetera. The concept of mid-tier celebrities on the nation's hottest shopping channel may have enormous possibilities, but...
A first novel that tries for the fierce bite of satire but ends up with not much more than nasty little nibbles at the familiar.
Pity the talent on the shop-at-home channel dubbed—yes—Sellevision. During the “Toys for Tots” segment of Slumber Sunday Sundown, gay, lonesome Max inadvertently exposes himself in front of 60 million kids and their parents and loses his job—and any possibility of another. On-air person Peggy Jean Smythe, meanwhile, is a clueless, churchy mother, the oldest of whose three sons would rather play with C-4 than Silly Putty because of issues he has with mother dear. When she's bundled off ranting to detox and rehab for 30 days to get in touch with her addiction to Valium and alcohol, her much deprived husband takes up with Nikki, the almost 16-year-old Lolita from next door whose issues are a whole lot more fun—not to mention kinky—than Peggy Jean's. Then there's Leigh, who is having an affair with married boss Howard Toast, who shows no signs of leaving his own wife. Until, that is, Leigh, after consulting with already-exposed Max, exposes Toast on air and gets him fired and kicked out of his wife's house—whereupon Leigh becomes a feminist icon and much-sought-after talk show guest. And then there's Bebe, Sellevision's most successful host, who finds Mr. Right through a personal ad she puts on the Internet—except that he just might turn out to be the long-lost brother her mother put up for adoption before she was born.
Et cetera. The concept of mid-tier celebrities on the nation's hottest shopping channel may have enormous possibilities, but greater wit and sophistication than Burroughs seems able to summon—so far—are needed to raise this outing from the banalities of soap and silliness to the power of real satire.Pub Date: Sept. 1, 2000
ISBN: 0-312-26772-X
Page Count: 208
Publisher: St. Martin's Griffin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 2000
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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