Masterton (House of Bones, 2008, etc.) provides scant clues to help Gideon make his discovery—only relentless repetition of...
A composer’s liaison with a neighbor leads him on a journey filled with gruesome sights he alone can see.
He may not be Mozart, but Gideon Lake’s movie themes and advertising jingles bring him a level of comfort the Austrian composer never enjoyed. He can even afford an apartment near St. Luke’s Place in Greenwich Village. The best feature of his new digs is his hot downstairs neighbor Kate Solway, who comes to the door in search of her cat Malkin but swiftly lands in Gideon’s bed. The sex is so incredible that Gideon agrees to meet Kate at the Stockholm apartment of her friends Axel and Tilda Westerlund. Their children, Elsa and Felicia, are a little strange, appearing and vanishing repeatedly, and there are ear-piercing screams that no one but Gideon seems to hear. Still, Kate persuades Gideon to follow her to London, where David and Helena Philips’s flat is as filled with apparitions as the Westerlunds’, including the sound of their son Giles’ tortured pleas and the sight of Helena in the garden consumed by flames. A further jaunt to the Cesarettis’ palazzo in Venice provokes similar visions, culminating in Gideon’s discovery of his hosts Enrico and Salvina hanging from the chandelier—and their disappearance minutes later. Kate maintains that the meaning of these marvels will become clear in due time, but that Gideon, with the sensitivity born of his music, must discover it for himself.
Masterton (House of Bones, 2008, etc.) provides scant clues to help Gideon make his discovery—only relentless repetition of the same shocking scenario.Pub Date: March 1, 2009
ISBN: 978-0-7278-6722-3
Page Count: 256
Publisher: Severn House
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2009
Heartfelt, yes, but pretty routine.
Life lessons.
Angie Malone, the youngest of a big, warm Italian-American family, returns to her Pacific Northwest hometown to wrestle with various midlife disappointments: her divorce, Papa’s death, a downturn in business at the family restaurant, and, above all, her childlessness. After several miscarriages, she, a successful ad exec, and husband Conlan, a reporter, befriended a pregnant young girl and planned to adopt her baby—and then the birth mother changed her mind. Angie and Conlan drifted apart and soon found they just didn’t love each other anymore. Metaphorically speaking, “her need for a child had been a high tide, an overwhelming force that drowned them. A year ago, she could have kicked to the surface but not now.” Sadder but wiser, Angie goes to work in the struggling family restaurant, bickering with Mama over updating the menu and replacing the ancient waitress. Soon, Angie befriends another young girl, Lauren Ribido, who’s eager to learn and desperately needs a job. Lauren’s family lives on the wrong side of the tracks, and her mother is a promiscuous alcoholic, but Angie knows nothing of this sad story and welcomes Lauren into the DeSaria family circle. The girl listens in, wide-eyed, as the sisters argue and make wisecracks and—gee-whiz—are actually nice to each other. Nothing at all like her relationship with her sluttish mother, who throws Lauren out when boyfriend David, en route to Stanford, gets her pregnant. Will Lauren, who’s just been accepted to USC, let Angie adopt her baby? Well, a bit of a twist at the end keeps things from becoming too predictable.
Heartfelt, yes, but pretty routine.Pub Date: July 1, 2004
ISBN: 0-345-46750-7
Page Count: 400
Publisher: Ballantine
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 15, 2004
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
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