Sharp as a razor: The Perfect American says more about Disney, and the seduction of megalomania, than a stack of biographies.
And, no, there’s absolutely no weighted meaning in that title.
While it would be next to impossible to find a subject who came to a book with more symbolic heft attached to him than Walt Disney, as a character the man seems relatively unrepresented in literature and film. Doing quite the fine job of changing that fact is Jungk (Franz Werfel: A Life in Prague, Vienna and Hollywood, 1990), who takes on the dream-maker himself in his utterly irascible and unpleasant old age. At the opening here—of a novel whose title is almost as fraught with significance as Disney himself—the old man has gone back in 1966 to the tiny town in Missouri where he and his brother Roy were born and from whence came the inspiration for the layout of the Disney theme parks. Roy was the one who was good with the money, not the ideas like Walt. Of course, the great open secret of Walt’s life is that he didn’t really do much of the concrete work that made his name known in the farthest corners of the world—he just hired the best of the best, put them on a short leash, and slapped his name on their product. This is a point driven home again and again by the story’s resident neurotic Wilhem Dantine. An Austrian-born cartoonist (and real-life figure), Dantine worked for Walt for many years, getting fired just after the relatively disappointing performance of Sleeping Beauty, which Dantine had worked on. Years later, Dantine is practically a wandering vagrant with not much more to do than follow Walt around in an attempt to confront him (it’s a sublime moment when Dantine finally manages to butt heads with Walt in person). More like fictionalized biography than straight fiction, Jungk’s book is a fine achievement, making such a remote, brilliant, and rather hateful Walt Disney a flawed and painfully human creation.
Sharp as a razor: The Perfect American says more about Disney, and the seduction of megalomania, than a stack of biographies.Pub Date: June 1, 2004
ISBN: 1-59051-115-8
Page Count: 192
Publisher: Handsel/Other Press
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 2004
BOOK REVIEW
BOOK REVIEW
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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