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¡CARAMBA!

Chica-lit to be savored in small bites.

Never calling themselves Latinas or Hispanics or hyphenated anythings, the Mexican-Americans in a southern California town enjoy the hell out of pretty much everything in a slangy, self-assured debut.

Best girlfriends Natalie Stevens and Consuelo “Sway” Gonzales Contreras, a couple of cuties in their 20s are at the heart of things in this confection, but they share the stage with a fairly large cast of ghosts, whores, evangelical mariachi musicians, day laborers, transvestites, and a volcano as an eventful summer elapses in Lava Landing, a community miles from the news but not far from the Mexican border. Nat and Sway work, not too awfully hard, in a cheese factory, spending their off-hours shopping, getting their hair done, cruising in Nat’s Caddy convertible, flirting, and problem solving. One problem that’s stumped them so far is Consuelo’s fear of public transportation, a phobia linked to the tragic death of her father Don Pancho, who met his end one boozy evening back in Mexico when his truck stalled on the railroad tracks. Don Pancho’s ghost pops up time and again, seeking help getting out of Purgatory and visiting the many ladies in his earthly life. While the girls put their agile minds to Don Pancho’s problem, their friend and grade-school classmate Javier, a virginal, born-again musician, tries to reconcile his lust for the loose and lovely Lucha with his religious code, and Lulabelle, Javier’s mum, tries to decide whether to break her decades-long pact with the devil and give up all the household maintenance and yard break she’s been getting from studly day laborers in trade for her sexual favors. True-Dee, everybody’s favorite beautician, has all she can handle seeking advice from agony aunts about a sex change, organizing her annual Tupperware party, and, finally, getting involved with a gang of crypto-vulcanologists. Everybody dances when there’s a little bit of time, and there’s always something interesting to eat. It’s all totally inconsequential and a great deal of fun.

Chica-lit to be savored in small bites.

Pub Date: April 1, 2004

ISBN: 0-375-41375-8

Page Count: 366

Publisher: Knopf

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Feb. 1, 2004

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TO KILL A MOCKINGBIRD

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

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A LITTLE LIFE

The phrase “tour de force” could have been invented for this audacious novel.

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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

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