In his first novel, Dufresne extends the exploits of the Fontana family, introduced in his highly touted collection of stories, The Way That Water Enters Stone (1991). But devices that might be amusing in a short story do not necessarily have enough weight to sustain a longer work. Billy Wayne, last of the Fontana line, is brought together with other eccentric characters, all of whom live in close proximity to Monroe, La. (pop. 56,000). Billy Wayne was about to enter the priesthood when he met a woman in the hospital and ran off with her. They spend their first night in a field, then move to a decrepit motel sold to a gullible Pakistani. Initially, these miscast outcasts are put forth with true Southern flourish. Except we soon realize Dufresne is rambling on about his characters' lives, never once entering their emotions or examining their motives. Even when the Pakistani loses his motel or is held in jail, his response is glossed over with cold, generic statements such as ``my heart aches.'' Later, when Fox Ledbetter commits suicide, a chapter is devoted to Billy Wayne's last evening with him, but few readers will remember who Fox Ledbetter is (so facile were his previous appearances). This lapse of memory is not surprising: The plot is continually interrupted by narratives about minor characters. Dufresne wastes so much time telling readers he's telling a story and expounding on the art of storytelling that we lose interest in the characters and, thus, in the story. A more daring writer might have been able to handle this text-within-text commentary, and the flitting from character to character, by finding some formal innovations to suit the purpose. But despite a few experimental passages, the writing here is fairly conventional and conventionally boring.
Pub Date: July 11, 1994
ISBN: 0-393-03648-0
Page Count: 352
Publisher: Norton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 1, 1994
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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