The gut-soul of Roots, with which this will be recklessly, inevitably linked, and a handsome display of a major talent.
"When you know your name, you should hang on to it, for unless it is noted down and remembered, it will die when you die."
And the scribbled no-name "Macon Dead," given to a newly freed black man by a drunken Union Army officer, has stained out a family's real name for three generations, and then we meet the third "Macon Dead," called "Milkman." Raised among the sour hatreds of the richest black family in a Michigan town, Milkman learns not to love or make commitments, learns to turn away from his father's hard, tight greed, his mother's unloved passivity, his sisters' sterile virginity. He stands apart from his outcast aunt Pilate (a figure reminiscent of Sula, living beyond all reason), a "raggedy bootlegger" who keeps her name in a box threaded to one ear. And he stands above the wild untidy adoration of his cousin Hagar, above the atrocities against blacks in the 1950s, even while his friend organizes a black execution squad. However, when Milkman's father opens the door to a family past of murder and flight, Milkman—in order to steal what he believes is gold—begins the cleansing Odyssean journey. His wanderings will take him through a wilderness of rich and wonderful landscapes murmuring with old tales, those real names becoming closer and more familiar. He beholds eerie appearances (an ancient Circe ringed with fight-eyed dogs)—and hears the electric singing of children, which holds within it the pulse of truth. Like other black Americans, Milkman's retrieval of identity from obliteration helps him to shake off the "Dead" no-name state of his forebears. And, like all people, his examination of the past gives him a perspective that liberates the capacity for love. Morrison's narration, accomplished with such patient delicacy, is both darkly tense and exuberant; fantastic events and symbolic embellishments simply extend and deepen the validity and grace of speech and character.
The gut-soul of Roots, with which this will be recklessly, inevitably linked, and a handsome display of a major talent.Pub Date: Sept. 1, 1977
ISBN: 140003342X
Page Count: 360
Publisher: Knopf
Review Posted Online: Sept. 30, 2011
Kirkus Reviews Issue: Sept. 1, 1977
BOOK REVIEW
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BOOK TO SCREEN
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.
Are we not men? We are—well, ask Bigfoot, as Brooks does in this delightful yarn, following on his bestseller World War Z(2006).
A zombie apocalypse is one thing. A volcanic eruption is quite another, for, as the journalist who does a framing voice-over narration for Brooks’ latest puts it, when Mount Rainier popped its cork, “it was the psychological aspect, the hyperbole-fueled hysteria that had ended up killing the most people.” Maybe, but the sasquatches whom the volcano displaced contributed to the statistics, too, if only out of self-defense. Brooks places the epicenter of the Bigfoot war in a high-tech hideaway populated by the kind of people you might find in a Jurassic Park franchise: the schmo who doesn’t know how to do much of anything but tries anyway, the well-intentioned bleeding heart, the know-it-all intellectual who turns out to know the wrong things, the immigrant with a tough backstory and an instinct for survival. Indeed, the novel does double duty as a survival manual, packed full of good advice—for instance, try not to get wounded, for “injury turns you from a giver to a taker. Taking up our resources, our time to care for you.” Brooks presents a case for making room for Bigfoot in the world while peppering his narrative with timely social criticism about bad behavior on the human side of the conflict: The explosion of Rainier might have been better forecast had the president not slashed the budget of the U.S. Geological Survey, leading to “immediate suspension of the National Volcano Early Warning System,” and there’s always someone around looking to monetize the natural disaster and the sasquatch-y onslaught that follows. Brooks is a pro at building suspense even if it plays out in some rather spectacularly yucky episodes, one involving a short spear that takes its name from “the sucking sound of pulling it out of the dead man’s heart and lungs.” Grossness aside, it puts you right there on the scene.
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.Pub Date: June 16, 2020
ISBN: 978-1-9848-2678-7
Page Count: 304
Publisher: Del Rey/Ballantine
Review Posted Online: Feb. 9, 2020
Kirkus Reviews Issue: March 1, 2020
BOOK REVIEW
BOOK TO SCREEN
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
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BOOK REVIEW
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