Hardly any chills, but lots of explicit sex. Your move.
Few are the goose bumps in this new collection by the veteran British horrormeister.
You’ve got your restless undead, your voracious vampires, your screams, your groans, your inexplicables and imponderables, and all the rest of the spooky standbys spread throughout this macabre dozen. Masterton (Snowman, p. 21, etc.) is certainly familiar with the genre’s hot buttons, but he just might have pushed them so often that he’s become as dependent on them as a short-order cook on her microwave oven. What’s lacking is artistry—the creative spark that can coax even creaky old zombies to life once more. The young victim of “Out of Her Depth,” for instance, drowns in a puddle that grows wider and deeper with her every step. But since we never learn anything about her, it’s hard to shiver at her fate. In “Lolicia,” a man savages a woman sexually, ends by killing her, and suffers a dispiritingly contrived retribution. Sexual savagery is again pivotal in “Heroine,” and again the end is both predictable and unconvincing. The Jack in “Jack Be Quick” is Jack Kennedy, and in this tasteless addendum to conspiracy theory literature, the born-again president (resurrected, literally, through a combination of mysterious drug, neo-voodooism, and infernal compact) is such a clear and present danger to his country that his nearest and dearest take him out in the interests of patriotism. And so on down a lackluster list, except for “The Ballyhoolly Boy,” a near-miss about a ghostly nerd’s revenge on the bullies who once made his school days miserable. Characters who had room for a few more nuances might have made this one memorably scary.
Hardly any chills, but lots of explicit sex. Your move.Pub Date: Nov. 1, 2000
ISBN: 0-7278-5594-8
Page Count: 224
Publisher: Severn House
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 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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