An Oscar-winner for the screenplay to The Killing Fields, Robinson debuts in the novel with the hilarious and engaging story of a working-class British teen growing up in the 1950s. Book’s end will bring explanations for the behavior of all, but at the start a person might well doubt it—when meeting Thomas Penman, for example, nearly 15 but still preoccupying himself with moving his bowels anywhere but on the toilet and wrapping the results in bags for the discovery and delight of others. This is a boy also (when not constructing bombs) who lies, spies, and eavesdrops obsessively—traits possibly inherited from his grandfather, who likes to —[creep] around in the attic with his penis out.— It’s a credit to Robinson’s Chaucerian skills and enormous human sympathies that he magically guides his material along the cliff-edge of slapstick and, without losing the least bit of its comic spirit, transforms it into the humane, subtle, and moving. Near the seacoast in Kent—with a passel of rather vile dogs as well—live Thomas and his sister Bel, their parents Mabs and Rob, and grandparents Walter and Ethel. Rob, tough and built as if of bricks, is a walking fuse of near-rage, while wife Mabs, sleeping on the other side of the house, guards her own secret silence. Dying now of cancer, grandfather Walter somehow survived WWI (his tale is unforgettable) but lost his one true love—a void in his life that gives him a special bond to young Thomas, this being the case for reasons that will grow clear at last as the boy falls in love, searches the past, gets into terrible trouble, thanks in no small part to his weasely friend Maurice and his outrageously stolid and ruinous parents, the Rev. and Mrs. Potts. Love, youth, and satire delivered with the verve and allure of, say, Amis—the real one, that is, not the modernized Martin, but lordly and hilarious Kingsley.
Pub Date: Jan. 1, 1999
ISBN: 0-87951-914-2
Page Count: 278
Publisher: Overlook
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 15, 1998
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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