First-rate thriller in the vein of Joseph Finder.
When his son goes missing, a successful young businessman searches for him as his own life falls apart.
Newell’s taut, well-constructed debut family drama centers on 32-year-old Gus Delaney, the youngest hedge fund manager in Boston’s Elysium Fund. In 1977, he’s a well-intentioned but vain and somewhat strutting young father of two children, Jack and Lilly, who spend most of their time with Gus’ ex-wife, Victoria, a shrill woman still bitter about the divorce. The novel opens on one such tense scene: it’s Christmas Eve, snow has started falling, and Victoria is hours late arriving to Gus’ house with the children, which causes an awkward family scene once she and the children finally show up. Gus and Victoria are blindsided when Jack disappears the following day, abducted by a messianic religious cult. Giving Jack the new name Augustine, the cult’s overseers forcibly induct him into their ranks, telling him his mother is dead and that only his obedience to their orders will guarantee the continued survival of his father and sister. As a police investigation in the suburb of Boston ramps up and gradually turns its attention to Gus as a possible suspect, Newell skillfully cuts back and forth between the dismantling of Gus’ life and the construction of Jack’s new life. Some of the secondary characters can seem a bit flat as the narrative moves them around the chessboard of a plot, but more effective are the portraits of Gus—his deterioration, then the slow climb to a new understanding of himself—and especially the cult and their creepy inner workings. Jump-cutting between scenes keeps the story gripping even in more utilitarian chapters, and the police investigation and missing child case—conducted without the aid of modern technology—feel authentic in every detail.
First-rate thriller in the vein of Joseph Finder.Pub Date: June 24, 2015
ISBN: 978-1-4575-3670-0
Page Count: 328
Publisher: Dog Ear
Review Posted Online: Aug. 27, 2015
Review Program: Kirkus Indie
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
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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