Occasional bright spots, however, can’t redeem an overwrought and overwritten collection.
Culling from six previous volumes, Waters has erected a monument to sentimentality and narcissism. Practically all of his “subjects”—Miles Davis, snakes, apples, hummingbirds—are exposed as excuses to talk about himself. They are reduced to mere props, and a reader wishes he had followed the example of Moore or Bishop (whose descriptions illuminate, rather than obfuscate, their subjects), instead of compulsively tossing in formulaic epiphanies and self-disclosures. Waters displays more evidence of effort than of craft: in two syllabic poems he refers to the counting of syllables and, never content to let nouns stand alone, he gussies them up with adjectives, often as many as three at a time (the earth is “this green, / incorrect, forever dying planet”). Keats’s influence is apparent, sometimes to an embarrassing degree (“I clumped up the knoll to the kiddie-loud / pool”), and his descriptions tend to crowd out whatever else might be happening in the poems: sliced cucumbers are “watery wheels, columns of coins”; cognac is “sage and flame,” “blunt amber,” “mulled / smoke, brassy phosphor.” Waters is capable of restraint: “Romance in the Old Folks’ Home,” despite the corny, condescending title, is genuinely sweet, due to the fact that the poet’s own memories and poetical “insights” do not intrude. He refers (ironically, one suspects) to “those minor poets who endlessly / exalt the vast stupor of childhood,” but some of the better poems do just that with humor and heartbreak. In “The Conversion of Saint Paul,” he recalls how one Sister Euphrasia had “pasted Easter seals on my skull . . . pretending to air-mail me to China” and how later, during a school play, she adjusted his underwear, then “whispered Jesus / would be judging [his] performance.”
Occasional bright spots, however, can’t redeem an overwrought and overwritten collection.Pub Date: Nov. 20, 2000
ISBN: 1-880238-95-0
Page Count: 179
Publisher: BOA Editions
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 15, 2000
BOOK REVIEW
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
There are unforgettable beauties in this very sexy story.
Passion, friendship, heartbreak, and forgiveness ring true in Lovering's debut, the tale of a young woman's obsession with a man who's "good at being charming."
Long Island native Lucy Albright, starts her freshman year at Baird College in Southern California, intending to study English and journalism and become a travel writer. Stephen DeMarco, an upperclassman, is a political science major who plans to become a lawyer. Soon after they meet, Lucy tells Stephen an intensely personal story about the Unforgivable Thing, a betrayal that turned Lucy against her mother. Stephen pretends to listen to Lucy's painful disclosure, but all his thoughts are about her exposed black bra strap and her nipples pressing against her thin cotton T-shirt. It doesn't take Lucy long to realize Stephen's a "manipulative jerk" and she is "beyond pathetic" in her desire for him, but their lives are now intertwined. Their story takes seven years to unfold, but it's a fast-paced ride through hookups, breakups, and infidelities fueled by alcohol and cocaine and with oodles of sizzling sexual tension. "Lucy was an itch, a song stuck in your head or a movie you need to rewatch or a food you suddenly crave," Stephen says in one of his point-of-view chapters, which alternate with Lucy's. The ending is perfect, as Lucy figures out the dark secret Stephen has kept hidden and learns the difference between lustful addiction and mature love.
There are unforgettable beauties in this very sexy story.Pub Date: June 12, 2018
ISBN: 978-1-5011-6964-9
Page Count: 352
Publisher: Atria
Review Posted Online: March 19, 2018
Kirkus Reviews Issue: April 1, 2018
BOOK REVIEW
BOOK REVIEW
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