So here it is at last, the ostensible subject of Gray's latest stage (and, come the spring, screen) monologue Monster in a Box: a first novel that reads like an existential autobiography and has his mother's suicide (a longtime Gray subject) as its core. Little Brewster North is on a Rhode Island beach with Mom when his uncle gives him a monkey mask from Bali, a WW II trophy, and we witness the birth of a child's imagination. A lyrical opening, but Brewster's happy childhood crumbles when Mom's zeal for Christian Science turns to craziness. Though wanting to end his emotional dependence on her (``it was too sticky and warm to be right''), Brewster cannot rouse himself to fly the coop until he's 25; then he finds a girlfriend (Meg) and acting work in upstate New York. He is on vacation in Mexico when Mom kills herself. This feeds Brewster's guilt, and a dark fear that Mom/Medea is not finished, and may somehow kill her children too. It's about here that we long for the distance that Lawrence achieved from his mother in his autobiographical Sons and Lovers; but then, mercifully, up pops the Gray of the monologues, with a wonderfully funny account of a failed attempt to bring experimental theater to Middle America. The work's second half becomes a roller-coaster ride as Brewster punishes himself for not saving Mom by arranging his own ``fast and total disorientation of the senses.'' His breakdown begins in India, blooms in Amsterdam (he has sex in a gay bathhouse), and rages on in New York; his brazen affair with a groupie finally provokes a breakup with the loyal Meg. After some time on the road, he ends his story, arbitrarily, in the Grand Canyon. Although it fails as a novel, this sui generis work has some of the best writing about sex since Henry Miller and some of the best writing about a breakdown since Sylvia Plath; its eccentric charm should enlarge Gray's already considerable following.
Pub Date: May 14, 1992
ISBN: 0-394-56894-X
Page Count: 272
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 1992
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
Heartfelt, yes, but pretty routine.
Life lessons.
Angie Malone, the youngest of a big, warm Italian-American family, returns to her Pacific Northwest hometown to wrestle with various midlife disappointments: her divorce, Papa’s death, a downturn in business at the family restaurant, and, above all, her childlessness. After several miscarriages, she, a successful ad exec, and husband Conlan, a reporter, befriended a pregnant young girl and planned to adopt her baby—and then the birth mother changed her mind. Angie and Conlan drifted apart and soon found they just didn’t love each other anymore. Metaphorically speaking, “her need for a child had been a high tide, an overwhelming force that drowned them. A year ago, she could have kicked to the surface but not now.” Sadder but wiser, Angie goes to work in the struggling family restaurant, bickering with Mama over updating the menu and replacing the ancient waitress. Soon, Angie befriends another young girl, Lauren Ribido, who’s eager to learn and desperately needs a job. Lauren’s family lives on the wrong side of the tracks, and her mother is a promiscuous alcoholic, but Angie knows nothing of this sad story and welcomes Lauren into the DeSaria family circle. The girl listens in, wide-eyed, as the sisters argue and make wisecracks and—gee-whiz—are actually nice to each other. Nothing at all like her relationship with her sluttish mother, who throws Lauren out when boyfriend David, en route to Stanford, gets her pregnant. Will Lauren, who’s just been accepted to USC, let Angie adopt her baby? Well, a bit of a twist at the end keeps things from becoming too predictable.
Heartfelt, yes, but pretty routine.Pub Date: July 1, 2004
ISBN: 0-345-46750-7
Page Count: 400
Publisher: Ballantine
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 15, 2004
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