Scott's decision to update Robert Louis Stevenson's classic tale of seafaring adventure and piracy might seem a quirky venture at first glance, but the results are surprisingly rewarding. The book began as a writing exercise when the author (Hardscape, p. 1423, etc.) found himself stalled on another project, but it soon turned into something of an obsession. He moves the story to the 1950s (it is difficult, if not impossible, to imagine it working any later than that) and begins the tale at the Admiral Benbow Hotel on the Great South Bay off Long Island. Jim Hawkins is an American teenager fascinated with boats; Dr. Livesey is Dr. Janet Livesey; Squire Trelawney has been transformed to a former US senator; Flint is a WW II vet whose treasure trove is gold stolen from the Nazis. Long John Silver lost his leg at Iwo Jima, and the gold is hidden in the Caribbean. Some of the minor detail differences are fascinating. The blind Pew is run down by policemen on motorcycles rather than horseback, for example, and it is a barrel of pistachio nuts rather than apples in which Jim hides to learn of the deadly plot among the crew of the Hispaniola. ``Yo-ho-ho, and a bottle of rum'' becomes, instead, a familiar wartime army ditty from the Philippines. Scott's conceit was to rewrite the original as closely as he could, line by line, paragraph by paragraph, updating everything to modern times. The result is a new awareness for the reader of just how wonderful a villain Silver really is and, more significantly, how well-paced and powerful a masterpiece Stevenson produced way back in 1883. An enjoyable enough novel on its own, this is especially delightful when read with a copy of Stevenson's version on hand for comparison.
Pub Date: Dec. 4, 1994
ISBN: 0-312-11368-4
Page Count: 240
Publisher: St. Martin's
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 1, 1994
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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