Merullo’s third novel nicely combines the strengths of his first two: it’s as beautifully written as his first, Leaving Losapas (1991), and as smoothly plotted (and commercial) as his second, A Russian Requiem (1993). Although it’s about family, gambling, gangsters, sin, and redemption, Merullo’s smart book resists all the clichÇs of ethnic melodrama. Set in the blue-collar coastal town of Revere, Massachusetts, this study in secrets and lies in no way romanticizes either its working-class Italians or the goodfellas who prey upon their addictions. For Peter Imbesalacqua, a 40-year-old failing real-estate agent, that vice is gambling, which threatens to engulf his entire world, including his parents, Vito and Lucy, still living in the neighborhood, and his glamorous sister, Joannie, a Boston TV news anchor who’s bailed Peter out of too many jams. Told in the various voices of the main characters, the narrative also relies on the perspective of Father Dom, Vito’s boyhood friend and confessor to the Imbesalacqua family, and someone with a few secrets of his own. Peter’s debt to local wiseguy Eddie Crevine forces him to debase himself and lie to those around him. A dreamer with a true salesman’s personality, Peter is further haunted by a long-held family secret: the true relation of a childhood buddy, now the local police captain, who will do anything to protect the Imbesalacquas. Joannie, whose own secret everyone has long suspected, decides to practice tough love with her brother and also plans to expose Crevine in a series on local crime bosses. Merullo, with a tip of his hat to Dostoyevsky, probes the psyche of the gambler but avoids any neat explanations for —the animal of addiction.— The conflict of loyalties here(church, blood, class) also accounts for much inner turmoil among the primary characters, each drawn with sensitivity and intelligence. If Coppola or Scorsese ever repent for their glamorization of the underworld, this is the perfect novel to bring to the big screen: the ordinary people of Merullo’s realist fiction, no easy saints themselves, testify to the true meaning of familial love.
Pub Date: Sept. 1, 1998
ISBN: 0-8050-6005-7
Page Count: 320
Publisher: Henry Holt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1998
BOOK REVIEW
BOOK REVIEW
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
A strict report, worthy of sympathy.
A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.
"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….
A strict report, worthy of sympathy.Pub Date: June 15, 1951
ISBN: 0316769177
Page Count: -
Publisher: Little, Brown
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: June 15, 1951
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
APPRECIATIONS
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