Puzo's seventh novel, a monstrously gripping quasisequel to 1969's The Godfather, flavors itself with none of the Corleones so dear to fans of that earlier potboiler but does simmer the same Sicilian marinara, using a more literate recipe. From its Long Island compound, the Clericuzio family, ruled by the twistedly wise Great White Shark Domenico Clericuzio, dominates the nation's Mafia but longs to go legit. For over 30 years, old Domenico has urged the Clericuzios toward fading namelessly into the nation's fabric, into restaurants, construction companies, and legalized gambling. He has given up drugs as operationally too unwieldy, and now seeks nationwide legalized gambling. Peace has reigned since Domenico's young nephew, Pippi De Lena, wiped out the brutal Santadio family in one bloody evening. But Sicilian vengeance knows no time limit, and one shadowy figure remains of mixed Santadio-Clericuzio blood who now seeks payment and rulership of the Clericuzios. Puzo divides his novel mainly into scenes set on Long Island, in Las Vegas, and Hollywood. Pippi runs Xanadu, the crown jewel of Las Vegas casinos, aided by his son Croccifixio, known as Cross. When Cross finds himself stunned by the beauty of Hollywood's leading actress, Athena Aquitane, he decides to help quell her fear of her acid-slinging ex-husband. Athena departs LoddStone Studios, where she's filming the $100M epic Messalina, and goes into hiding until the threat is removed. To get his foot into the legit film industry, Cross buys the unfinished picture from Loddstone, and quickly, permanently resolves Athena's marital problems. After his father Pippi is murdered, Cross sets out to avenge him. But Cross's instincts tell him that old Domenico may be behind his own nephew's murder. Cross, caught between Scylla and Charybdis, may have to go against his own blood if he is to have revenge. Fabulously well-plotted; drunk on luxury.
Pub Date: Sept. 1, 1996
ISBN: 0-679-40143-1
Page Count: 496
Publisher: Random House
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 15, 1996
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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