Clever, original, and unabashedly silly fun.
A disturbingly ambitious woman finds herself challenged by mysterious crises—both personal and professional—in Cohen’s painfully funny satire of the tech industry.
In Shelley Stone, Cohen has created an aggressively unlikable yet captivating and entertaining heroine. Twenty years ago, as a directionless 20-year-old, Shelley was struck by lightning, a trauma for which she claims to be grateful despite the physical pain it inflicted. She doesn’t care that the lightning shriveled her pleasure receptor or that she now scores low on the likability scale. What matters is that the lightning strike changed her brain in ways that made her into the driven woman she’s become. Shelley is married and has two children—readers will concur with her amazement at having attracted financial-analyst husband Rafe, who goes along with her scheduled 12 minutes of daily sex even though his own pleasure principle remains intact—but she's primarily committed to her role as CEO of Conch, a company producing personal data repositories shaped like shells and worn behind users’ ears. On a family vacation in France, Shelley’s 4-year-old daughter, Nova, disappears while Shelley and Rafe are distracted by work calls; more disturbing, both parents continue their calls while searching for her. Fortunately, a stranger finds Nova, a stranger who somehow has Shelley’s cellphone number and seems oddly excited to meet her when returning the child. Within weeks, Shelley meets another stranger: Michelle looks like a younger version of Shelley herself, down to the same scar on her arm, and has experienced the same childhood. Is a pre-lightning strike, alternate self possible? Or is Shelley having a nervous breakdown? Shelley is rattled but cynical enough to have her doubts. Meanwhile Conch suddenly faces serious quality control issues that she must solve to save her job. And then there’s Rafe’s plan to move with the kids to Brazil, with or without Shelley.
Clever, original, and unabashedly silly fun.Pub Date: May 22, 2018
ISBN: 978-0-385-54278-4
Page Count: 368
Publisher: Doubleday
Review Posted Online: March 4, 2018
Kirkus Reviews Issue: March 15, 2018
PROFILES
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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