A drossy embarrassment from former art dealer and recovering heroin addict Ramus, a man who reportedly lost a king's ransom (five million) when the bottom fell out of the New York art market in the 1980s, but got a fifth of it back for this debut novel. Adrian Sellars, a junkie who's leveraged his gallery into major debt, harbors an attraction to dicey get-rich-quick schemesall hallmarks of the go-go '80s art-dealer affliction. Not entirely dissolute, however, Sellars shelters a secret heart of gold and at least a strand of moral fiber, though the Japanese gangsters to whom he's been selling forgeries of French Impressionist masterpieces couldn't care less about his ethics. Matters get nasty when Sellars's forger meets a violent death at the hands of a pair of street hoods, who destroy a copy of Monet's ``Water Lilies'' before they murder the unfortunate painter and remove his ears. Sellars's Japanese connection, a remorseless evildoer named Tanaka, puts the dealer on the clock to locate a replacement Monet, which spins Sellars into a downward spiral of hustling and heroin abuse that culminates in the killing of his partner. Desperate, Sellars turns to his foxy assistant, Devon Berenson, for help, and she comes through in spades: Not only does she hide him while he goes cold turkey and then sleep with him, but she convinces him to visit a patrician art-restorer who provides a real Monet as bait for the Japanese. Ramus mates the cultural paranoia of Reservoir Dogs with the adolescent sleuthing of Hardy Boys before staging a prolonged final showdown between Sellars and the Japanese heavies that features an assassination, a double-cross, and a cameo by retired tennis star John McEnroe. A juvenile caper failing to pass itself off as a cautionary tale. (First printing of 125,000; Book-of-the-Month Club alternate selection; author tour)
Pub Date: Sept. 1, 1995
ISBN: 0-06-017664-4
Page Count: 320
Publisher: HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 1, 1995
BOOK REVIEW
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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