Ten years after Suzannah Lord was bounced out of a neurosurgery residency at NIH and down to the lower depths of general surgery when she wouldn't come across for her brilliant, groping boss, Dr. Roland Lancaster, a chance revelation pits her against Lancaster again—this time concerning their last project together: neurally-implanted microchips that succeeded only too well in improving failing vision. Suzannah is tipped off to the scary side-effects of the chips when one of the first recipients, nonpareil painter Andrew Dugan, begs her to remove his implant. But before Andrew can explain why he's willing to risk complete blindness to get rid of the chip, he disappears—kidnapped or neutralized, perhaps, by a corps of CIA renegades running the Adept project?—and it takes a violent death and another frantic call from a microchip beneficiary—Tricia Fiore, a schoolteacher who tries to kill herself—to solve the riddle: the chips have the side effect, highly desirable in the intelligence community, of promoting second sight. For Archer Montross, Suzannah's old college friend, visions of the future have been a godsend: after predicting the course of the Gulf War, he's become the Adepts' main man, another kind of visionary bursting to pry Suzannah loose from Andrew and Jay Mallernee, her hunky long-term journalist lover; lay unclean hands on her (taking a leaf from his hero Lancaster); and persuade her to implant chips in a future CIA dream team. For Andrew and Tricia, however—and this is the novel's strongest insight—seeing the future merely paralyzes them with apathy, since they lose all interest in enacting their visions. Despite a promising take on the down side of prophetic vision, Spruill (Before I Wake, 1992, etc.) disappoints in his take-that/no- take-that plotting, less reminiscent of Dean Koontz than of Wile E. Coyote. (First serial to Good Housekeeping)
Pub Date: Feb. 23, 1994
ISBN: 0-312-09879-0
Page Count: 304
Publisher: St. Martin's
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 1993
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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