Not dependent on the award-winning Chronicle (1958), this continues the picaresque experiences of the surviving members of the family, Miss Honora, Coverly and Moses; whose egregious eccentricity was a more prominent feature of the earlier took. While this approach also is a little off center, it is more awry than askew. Miss Honora, indomitable at 70, represents the "surprising abundance of life" but life itself is unaccountable, a "migration" full of random irrelevancies. But there's more to it than just a tilted perspective— Cheever seems to be haunted by what one critic called the "everpresent danger and the half-felt queerness of contemporary existence". Although there may be some escape through the hot certainties of the flesh, there are still the dusty answers— "no cure for autumn, no medicine for the north wind"; loneliness is a constant presence, death an occasional one, and above all there's a certain uneasiness with the world as it is. Less so for Honora whose ancien regime has had a fixed, autocratic authority. But Coverly has gone from the very old to the very new- a missile base with its "promethean powers" and menace. And he is saddened by his failure to bring happiness to Betsy. Moses is still more troubled; his Melissa runs off with a young boy, then to Italy, and leaves him with only the sodden solace of the ottle. The current chronology closes with a farewell to St. Botolph's and Honora.... heever, like Updike, is a loner in modern fiction; sui generis, he is also a special taste. But his admirers will again be fascinated by this new book, unstructured as it may be, with its passionate sense of life, its disconsolate awareness of loss, and its writing, much of which is remarkable, and, a word to be used charily, beautiful.
Pub Date: Jan. 3, 1963
ISBN: 0060528885
Page Count: 326
Publisher: Harper & Row
Review Posted Online: Sept. 20, 2011
Kirkus Reviews Issue: Jan. 1, 1963
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
The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with...
Talk-show queen takes tumble as millions jeer.
Nora Bridges is a wildly popular radio spokesperson for family-first virtues, but her loyal listeners don't know that she walked out on her husband and teenaged daughters years ago and didn't look back. Now that a former lover has sold racy pix of naked Nora and horny himself to a national tabloid, her estranged daughter Ruby, an unsuccessful stand-up comic in Los Angeles, has been approached to pen a tell-all. Greedy for the fat fee she's been promised, Ruby agrees and heads for the San Juan Islands, eager to get reacquainted with the mom she plans to betray. Once in the family homestead, nasty Ruby alternately sulks and glares at her mother, who is temporarily wheelchair-bound as a result of a post-scandal car crash. Uncaring, Ruby begins writing her side of the story when she's not strolling on the beach with former sweetheart Dean Sloan, the son of wealthy socialites who basically ignored him and his gay brother Eric. Eric, now dying of cancer and also in a wheelchair, has returned to the island. This dismal threesome catch up on old times, recalling their childhood idylls on the island. After Ruby's perfect big sister Caroline shows up, there's another round of heartfelt talk. Nora gradually reveals the truth about her unloving husband and her late father's alcoholism, which led her to seek the approval of others at the cost of her own peace of mind. And so on. Ruby is aghast to discover that she doesn't know everything after all, but Dean offers her subdued comfort. Happy endings await almost everyone—except for readers of this nobly preachy snifflefest.
The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with syrupy platitudes about life and love.Pub Date: March 1, 2001
ISBN: 0-609-60737-5
Page Count: 336
Publisher: Crown
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 15, 2001
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