Elegantly balanced, dense and ripe, Guillory's novel illuminates things alien to most, and although ugly and hard at times,...
A masterful debut novel about a young man reckoning with his family on the tough streets of Houston in the 1980s.
Guillory balances the details of the 1980s with post–Civil War history to bring continuity to the Creole-speaking, culturally steeped Boudreaux family, living in the “hood” that is South Park, Houston. Ti’ John, short for Petit John, fully John Paul Boudreaux Jr., narrates life in a well-intentioned family where mother is a devout Catholic and father is a riotous character hard to forget. Time bounces sensuously from 1870s to 1940s Louisiana to 1980 Texas, and the language and dialect change with place. In Louisiana, Haitian French flows beautifully, “ancient and powerful,” not dark or ominous like the tough talk of the ghetto kids on a steamy street where murders are woven into the fabric of the neighborhood. Ti’ John is schooled in the ways of the Creole healers by his father, John Frenchy, who has a way with horses, dice and women. But knowledge of the past crosses into the mystical as the Burning Wood Man, an uncle hanged in 1953, appears as a dark guardian for Ti’ John’s education. There is a great rhythm in this novel—in language as well as action. When the healers speak, it is from a place deep in the earth. When the street kids speak, it is in the immediacy of growing up and exotic hopes: red Now and Later candy, cars, girls, drugs, and, in Ti’ John’s case, a future that his mother has worked and prayed for. There is poetry in the ways of the Creole Boudreaux family history, in the voodoo and zydeco, and in a young man going off to college.
Elegantly balanced, dense and ripe, Guillory's novel illuminates things alien to most, and although ugly and hard at times, it brings hope, no matter the dark secrets of family.Pub Date: March 11, 2014
ISBN: 978-1-4516-9911-1
Page Count: 352
Publisher: Atria
Review Posted Online: Jan. 21, 2014
Kirkus Reviews Issue: Feb. 1, 2014
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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