Upping the metafictional ante is the question of whether India's bond-trading experiences will inspire her to write another...
Nearly everybody who reads—newspapers, magazines and websites, in addition to fiction—recognizes the plight of the midlist novelist. Not the brand-name superstar, whose annual connect-the-dots release invariably shoots to the top of the bestseller list. Not the highly touted newcomer, whose debut captures the fancy of so many critics, with raves spawning a flurry of other raves, a consensus that will likely curdle with the sophomore effort. Not even the literary trophy novelist, whose renown far exceeds any recent commercial success, but whose prestige adds luster to the publisher's catalog.
No, the classic midlister is no household name, except in the households of some book reviewers, and perhaps in those of the few others who avidly monitor book reviews. Such a readership might represent a cult fandom and guarantee sales in the low thousands. Enough that some imprint, though maybe not the same one, will publish the author's next novel, without expectations on anyone's part that it will fare much better. Martha McPhee's fourth novel wouldn't be so funny if it didn't ring so true. As the narrator of Dear Money, India Palmer has published four novels, none of which has sold more than 5,000 copies, and has written a fifth, which she had “come to hope…would be the winning ticket in the literary lottery where art met commerce.” Though it would be a mistake to reduce India to an authorial stand-in, the delicious irony of McPhee's novel is that it deserves to be her own lottery winner, the breakout book that attracts a popular readership exceeding those drawn by the critical notices and prize nominations for her earlier work. Yet her novel recognizes what a daunting challenge this is, how the publishing industry and celebrity culture make it easier for a tabula rasa newcomer to achieve such attention than for an author who has already established a track record. Finding herself “consumed by want,” India suffers even more because she and her artist husband have become close friends with a wealthier couple who can easily afford the standard of living to which the novelist guiltily aspires. Their expansive social circle encompasses a playboy financier who tempts India into something like an affair, only one where the lust is for money. McPhee has a lot of fun with a couple of archetypes—a Pygmalion transformation of the novelist into a financial high roller and a “city mouse/country mouse” exchange of ambitions—but what makes this novel work so well is that India continues to engage the reader's empathy, even affection, as she forsakes literary high-mindedness for filthy lucre. The novel reflects just how much of an industry publishing is, and how success in financial speculation involves crafting a compelling narrative.
Upping the metafictional ante is the question of whether India's bond-trading experiences will inspire her to write another novel—maybe even one as culturally subversive as McPhee's.Pub Date: June 3, 2010
ISBN: 978-0-15-101165-0
Page Count: 352
Publisher: Houghton Mifflin
Review Posted Online: Jan. 28, 2011
Kirkus Reviews Issue: March 1, 2010
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 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
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